https://wiki.fractalaudio.com/gen1/api.php?action=feedcontributions&user=Acwild&feedformat=atomFractal Audio Wiki - User contributions [en]2024-03-28T14:35:08ZUser contributionsMediaWiki 1.34.2https://wiki.fractalaudio.com/gen1/index.php?title=Main_Page&diff=2630Main Page2010-03-04T22:00:33Z<p>Acwild: /* Links of interest */</p>
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<h1 style="font-size: 200%; border: none; margin: 0; padding: 0;"><br />
Welcome to the '''<span style="color:red">Axe-Fx Wiki</span>'''<br />
</h1><br />
<div style="position: relative; top: -.1em; font-size: 100%;">The '''user manual''' that anyone can edit, and don't forget it was ACWILD's idea!<br />
</div><br />
[[Image:AxeFx.jpg|Fractal Audio Axe-FX]]<br />
</div><br />
</div><br />
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{| cellspacing="0" width="100%" bgcolor="#f4f1fc" align="center" style="border-bottom: solid 1px #C0C8CF; border-top: solid 1px #C0C8CF; font-size:90%; text-align:center; margin:0; padding:0;"<br />
|- valign="top" <br />
| width="100%" bgcolor="#F0F8FF"|<br />
&nbsp;''[[Special:AllPages | Content]] · [[Axe-Fx Wiki Manual]] · [[Tips]] · [[Frequently Asked Questions | FAQ]] · [[Tutorials]]''<br />
|}<br />
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</div><br />
<br />
__NOTOC__<br />
==Introduction==<br />
Welcome to the [[Axe-Fx Wiki]]. These pages contain helpful hints, tips, descriptions, FAQs and other user contributed material for Fractal Audio Systems '''[[Axe-Fx]]''' and '''[[Axe-Fx Ultra]]''' pre-amp/effects processors. <br />
<br />
<br />
The compilation of resources and online manual in the Axe-Fx Wiki aim to expand on the official user manual provided by [http://www.fractalaudio.com Fractal Audio Systems]. You can help expand the Axe-Fx Wiki by [http://axefxwiki.guitarlogic.org?title=Special:Userlogin&returnto=Main_Page creating a user account]. It's easy to join and start contributing.<br />
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|- valign="center" <br />
| width="100%" bgcolor="#F0F8FF"|[[Image:Crystal_Clear_app_ktip.png|left|40px|Random Tip]]&nbsp;'''''Random Tip:''''' {{#tag:random | {{:Tips}}}}<br />
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<td width="50%" bgcolor="#EFEFEF" border="1" style="border:solid 1px #DFDFDF"><br />
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==''Online manual links''==<br />
*[[Axe-Fx Wiki Manual]]<br />
** [[Axe-Fx_Wiki_Manual#Introduction|Introduction]]<br />
** [[Axe-Fx_Wiki_Manual#Additional Ultra features|Additional Ultra Features]]<br />
** [[Axe-Fx_Wiki_Manual#Getting Set Up|Getting Set Up]]<br />
** [[Axe-Fx_Wiki_Manual#Editing|Editing]]<br />
** [[Axe-Fx_Wiki_Manual#Controllers and Modifiers|Controllers and Modifiers]]<br />
** [[Axe-Fx_Wiki_Manual#Tuner|Tuner]]<br />
** [[Axe-Fx_Wiki_Manual#Utilities|Utilities]]<br />
** [[Axe-Fx_Wiki_Manual#Tips And Tricks|Tips and Tricks]]<br />
** [[Axe-Fx_Wiki_Manual#Warranty_information|Warranty Information]]<br />
** [[Axe-Fx_Wiki_Manual#Specifications|Specifications]]<br />
*[[Axe_editor|Axe-Fx Editor]]<br />
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<br />
==''Pages of Interest''==<br />
* [[FAQ | Browse the FAQ]]<br />
* [[:Category:Effect_blocks | List of effect blocks]]<br />
* [[List_of_amp_simulations | List of amp simulations]]<br />
* [[List_of_cabinet_simulations | List of cabinet simulations]]<br />
* [[Description_of_Mic_Models | List of mic models]]<br />
* [[Description_of_drive_models | List of drive models]]<br />
* [[Presets|List of factory presets]]<br />
<br />
<br />
For new & potential Axe-Fx owners:<br />
* [[Yeks_How_Tos|Yek's Axe-Fx How-Tos]]<br />
* [[Feature comparison|Standard/Ultra feature comparison]]<br />
* [[List of suggested Axe-Fx accessories]]<br />
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<td width="50%" bgcolor="#EFEFEF" border="1" style="border:solid 1px #DFDFDF"><br />
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==''Links of interest''==<br />
* [http://www.fractalaudio.com Official Fractal Audio Systems website]<br />
* [http://www.fractalaudio.com/forum/ Official Axe-Fx User Forum]<br />
* [http://www.setbb.com/axefx Old user forum]<br />
* [http://tinyurl.com/axefx-gmap Axe-Fx User Map experiment]<br />
* [http://www.fractalaudio.com/Documents/Version9_00/axefx9_02.zip Latest Standard firmware (9.02)]<br />
* [http://www.fractalaudio.com/Documents/Version9_00/ultra9_02.zip Latest Ultra firmware (9.02)]<br />
* [http://fractalaudio.com/Documents/ir2syx.zip IR2Sysex Utility]<br />
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<br />
==''Wiki stats and other''==<br />
* [[Special:Popularpages| Popular Pages]] <br />
* [[Special:Statistics| Page Statistics]] <br />
* [[Special:Newpages| New Pages]] <br />
* [[Special:Random| Random Page]] <br />
* [[Special:Allpages| All Pages]] <br />
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=== [[How to contribute | Contributing to the site]] ===<br />
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<td width="50%" bgcolor="#EFEFEF" border="1" style="text-align:left; border:solid 1px #DFDFDF"><br />
<br />
==''Getting Started''==<br />
* To edit or create new pages, please [http://axefxwiki.guitarlogic.org?title=Special:Userlogin&returnto=Main_Page create a user account].<br />
* Submit a new entry <br />
** You can edit or create a page by using the box below<br />
<inputbox><br />
type=create<br />
buttonlabel=Create Article<br />
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* [[Special:Wantedpages | List of wanted pages]]<br />
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<br />
==''Quick Guidelines''==<br />
* Search first to see if a page already exists for the particular topic you want to write about. If the page already exists, add your entry to the existing pages to avoid redundancy.<br />
* [[Redirecting pages| Create redirection pages]], so that if a user misspells or there's synonyms for a particular search term, the user is taken to a relevant page. <br />
* Always preview your edits before saving a page<br />
* Think about creating a new page for new additions and transcluding it into the place you want it displayed.<br />
* More information in [[How to Contribute]]. <br />
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</table></div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Main_Page&diff=2629Main Page2010-03-04T21:54:58Z<p>Acwild: /* Links of interest */</p>
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<h1 style="font-size: 200%; border: none; margin: 0; padding: 0;"><br />
Welcome to the '''<span style="color:red">Axe-Fx Wiki</span>'''<br />
</h1><br />
<div style="position: relative; top: -.1em; font-size: 100%;">The '''user manual''' that anyone can edit, and don't forget it was ACWILD's idea!<br />
</div><br />
[[Image:AxeFx.jpg|Fractal Audio Axe-FX]]<br />
</div><br />
</div><br />
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{| cellspacing="0" width="100%" bgcolor="#f4f1fc" align="center" style="border-bottom: solid 1px #C0C8CF; border-top: solid 1px #C0C8CF; font-size:90%; text-align:center; margin:0; padding:0;"<br />
|- valign="top" <br />
| width="100%" bgcolor="#F0F8FF"|<br />
&nbsp;''[[Special:AllPages | Content]] · [[Axe-Fx Wiki Manual]] · [[Tips]] · [[Frequently Asked Questions | FAQ]] · [[Tutorials]]''<br />
|}<br />
<br />
</div><br />
<br />
__NOTOC__<br />
==Introduction==<br />
Welcome to the [[Axe-Fx Wiki]]. These pages contain helpful hints, tips, descriptions, FAQs and other user contributed material for Fractal Audio Systems '''[[Axe-Fx]]''' and '''[[Axe-Fx Ultra]]''' pre-amp/effects processors. <br />
<br />
<br />
The compilation of resources and online manual in the Axe-Fx Wiki aim to expand on the official user manual provided by [http://www.fractalaudio.com Fractal Audio Systems]. You can help expand the Axe-Fx Wiki by [http://axefxwiki.guitarlogic.org?title=Special:Userlogin&returnto=Main_Page creating a user account]. It's easy to join and start contributing.<br />
<br />
<br />
<!-- This pulls a random tip from Templates:Tips --AlbertA--><br />
<div style="white-space: normal; margin-bottom: .5em; background-color: #ffffff; border: 1px solid #ccc;"><br />
{| cellspacing="0" width="100%" bgcolor="#f4f1fc" align="center" style="font-size:120%; text-align:left; margin:0; padding:0;"<br />
|- valign="center" <br />
| width="100%" bgcolor="#F0F8FF"|[[Image:Crystal_Clear_app_ktip.png|left|40px|Random Tip]]&nbsp;'''''Random Tip:''''' {{#tag:random | {{:Tips}}}}<br />
|}<br />
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<table width="100%" border="0" cellpadding="3" cellspacing="12" bordercolor="#EFEFEF" bgcolor="#ffffff"><br />
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<tr bgcolor="#EFEFEF" valign="top" border="1"><br />
<td width="50%" bgcolor="#EFEFEF" border="1" style="border:solid 1px #DFDFDF"><br />
<br />
==''Online manual links''==<br />
*[[Axe-Fx Wiki Manual]]<br />
** [[Axe-Fx_Wiki_Manual#Introduction|Introduction]]<br />
** [[Axe-Fx_Wiki_Manual#Additional Ultra features|Additional Ultra Features]]<br />
** [[Axe-Fx_Wiki_Manual#Getting Set Up|Getting Set Up]]<br />
** [[Axe-Fx_Wiki_Manual#Editing|Editing]]<br />
** [[Axe-Fx_Wiki_Manual#Controllers and Modifiers|Controllers and Modifiers]]<br />
** [[Axe-Fx_Wiki_Manual#Tuner|Tuner]]<br />
** [[Axe-Fx_Wiki_Manual#Utilities|Utilities]]<br />
** [[Axe-Fx_Wiki_Manual#Tips And Tricks|Tips and Tricks]]<br />
** [[Axe-Fx_Wiki_Manual#Warranty_information|Warranty Information]]<br />
** [[Axe-Fx_Wiki_Manual#Specifications|Specifications]]<br />
*[[Axe_editor|Axe-Fx Editor]]<br />
</td><br />
<td width="50%" style="border:solid 1px #DFDFDF"><br />
<br />
==''Pages of Interest''==<br />
* [[FAQ | Browse the FAQ]]<br />
* [[:Category:Effect_blocks | List of effect blocks]]<br />
* [[List_of_amp_simulations | List of amp simulations]]<br />
* [[List_of_cabinet_simulations | List of cabinet simulations]]<br />
* [[Description_of_Mic_Models | List of mic models]]<br />
* [[Description_of_drive_models | List of drive models]]<br />
* [[Presets|List of factory presets]]<br />
<br />
<br />
For new & potential Axe-Fx owners:<br />
* [[Yeks_How_Tos|Yek's Axe-Fx How-Tos]]<br />
* [[Feature comparison|Standard/Ultra feature comparison]]<br />
* [[List of suggested Axe-Fx accessories]]<br />
</td><br />
</tr><br />
<br />
<tr bgcolor="#EFEFEF" valign="top" border="1"><br />
<td width="50%" bgcolor="#EFEFEF" border="1" style="border:solid 1px #DFDFDF"><br />
<br />
==''Links of interest''==<br />
* [http://www.fractalaudio.com Official Fractal Audio Systems website]<br />
* [http://www.fractalaudio.com/forum/ Official Axe-Fx User Forum]<br />
* [http://www.setbb.com/axefx Old user forum]<br />
* [http://tinyurl.com/axefx-gmap Axe-Fx User Map experiment]<br />
* [http://www.fractalaudio.com/Documents/Version9_00/axefx9_02.zip Latest Standard firmware (9.2)]<br />
* [http://www.fractalaudio.com/Documents/Version9_00/ultra9_02.zip Latest Ultra firmware (9.2)]<br />
* [http://fractalaudio.com/Documents/ir2syx.zip IR2Sysex Utility]<br />
<br />
</td><br />
<td width="50%" style="border:solid 1px #DFDFDF"><br />
<br />
==''Wiki stats and other''==<br />
* [[Special:Popularpages| Popular Pages]] <br />
* [[Special:Statistics| Page Statistics]] <br />
* [[Special:Newpages| New Pages]] <br />
* [[Special:Random| Random Page]] <br />
* [[Special:Allpages| All Pages]] <br />
</td><br />
</tr><br />
<br />
<tr><td colspan=2 align="center" bgcolor="#FFEECC"><br />
=== [[How to contribute | Contributing to the site]] ===<br />
</td></tr><br />
<br />
<br />
<tr bgcolor="#EFEFEF" valign="top" border="1"><br />
<td width="50%" bgcolor="#EFEFEF" border="1" style="text-align:left; border:solid 1px #DFDFDF"><br />
<br />
==''Getting Started''==<br />
* To edit or create new pages, please [http://axefxwiki.guitarlogic.org?title=Special:Userlogin&returnto=Main_Page create a user account].<br />
* Submit a new entry <br />
** You can edit or create a page by using the box below<br />
<inputbox><br />
type=create<br />
buttonlabel=Create Article<br />
bgcolor=#EFEFEF<br />
default=Page Name<br />
width=24<br />
break=no<br />
</inputbox><br />
* [[Special:Wantedpages | List of wanted pages]]<br />
</td><br />
<td width="50%" style="border:solid 1px #DFDFDF"><br />
<br />
==''Quick Guidelines''==<br />
* Search first to see if a page already exists for the particular topic you want to write about. If the page already exists, add your entry to the existing pages to avoid redundancy.<br />
* [[Redirecting pages| Create redirection pages]], so that if a user misspells or there's synonyms for a particular search term, the user is taken to a relevant page. <br />
* Always preview your edits before saving a page<br />
* Think about creating a new page for new additions and transcluding it into the place you want it displayed.<br />
* More information in [[How to Contribute]]. <br />
</td><br />
</tr><br />
</table></div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Amp_simulator&diff=1746Amp simulator2009-03-23T12:58:07Z<p>Acwild: /* Parameters */</p>
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<div>[[Image:Amp_Simulator_block.jpg|right|350px]]<br />
Without distortion the electric guitar probably wouldn't have had nearly the impact it has had on popular music. The [[Axe-Fx]] contains multiple distortions based on emulations of various amplifiers. As mentioned earlier the Axe-Fx is not a modeler however these emulations provide sonic characteristics very similar to the amplifier they are emulating. <br />
<br />
One of the primary differences between the Axe-Fx and a modeling amplifier is the control philosophy. Modeling amps replicate the operation of the tone, volume, drive, etc. controls even replicating the annoying interaction among these controls. The Axe-Fx philosophy is to provide the control as a more useful tool rather than a strict replica of the original. In this regard the tone controls on the Axe-Fx are true cut/boost equalizing controls and do not interact. Because of this the controls are more powerful and are set differently than on a typical amplifier. "Diming" all the tone controls may sound great on an old tube amp but usually gives less than optimum results with the Axe-Fx. <br />
<br />
The Axe-Fx distortion is based on a proprietary dual-stage non-linearity generator. There are two basic stages: preamplifier and power amplifier. The preamplifier stage emulates the distortion generated by classic tube preamplifiers. The power amplifier stage emulates the type of distortion generated by a tube power amplifier using our proprietary Dynamic Response TechnologyTM. <br />
<br />
Full control over all parameters is naturally afforded allowing precise tailoring of this all-important block to your particular sonic tastes. Read the following carefully as the distortion block in the Axe-Fx is very sophisticated and a complete understanding will allow you to get the most from it. Also it is important to understand the role of the Cabinet Simulator in the overall sound. The cabinet contributes to the sound of a preset at least as much the amplifier type. If you’re not getting the exact sound you’re looking for try a different cabinet simulation. Of course there are no “rules” so there’s nothing preventing you from using a 10” blues cabinet with a high-gain amp simulation. Experimentation can lead to some unique and useful sounds.<br />
<br />
<br />
====Parameters====<br />
*'''GLOBL''' - If set to OFF the amp block works as normal. If set to GLOBAL1 through GLOBAL10, the amp will load the parameters from a "global amp parameter list". This parameter allows you to have 10 amps, each with different customizable settings, available to use in any preset.<br />
*'''TYPE''' - Selects the amplifier simulation. The simulations are based on classic and modern amps as well as some hybrids and completely original types that we concocted. The following types are available: <br />
**'''Tube Pre''' - A completely neutral, low-gain tube pre-amp simulation. Useful for warming up vocals and other instruments. <br />
**'''Jazz''' - Based on a Japanese solid-state amp with built-in chorus. With essentially no tone shaping this amp has a warm, midrange-thick sound that is good for jazz and fingerstyle. With the Axe-Fx’s powerful tone controls you can tweak this type to get shimmering rhythm tones as well. <br />
**'''Brownface''' - Based on a classic American 40-watt tube amp with built-in vibrato. Great for gutsy blues, this type breaks up nicely, especially when the Master is cranked. The original had no Mid or Presence so set these to ‘0’ for classic tone. <br />
**'''Blues''' - A low-to-medium gain sound great for blues. Based on a classic bass amplifier with four 10” speakers, it didn’t work so well for bass but guitar players quickly discovered it made a great blues amp. Try a treble booster in front for screaming blues work a la Albert Collins or Albert King. <br />
**'''Tweed''' - Based on a 22-watt "blackfaced" American amplifier with a single 12" speaker. The name "tweed" refers to the original amp model from Version 1.x of the software, since changed to this description (but with the model name unchanged). To reinstate the original low-powered, tweed-covered style amp model, select tonestack type "vintage" in the amplifier block's "advanced" page. <br />
**'''Blackface''' - Based on a popular, 100-watt American tube amp with two 12” speakers. This simulation captures the Normal Channel. Very similar to the Brownface model but a little more mellow. The tone-stack is also slightly different giving it just a bit different voicing. <br />
**'''Class A''' - A medium-gain emulation based on an early British tube amplifier. This type does not have the high-frequency emphasis like the American types and therefore has a darker sound. Try a treble boost in front for a snarling British “opera-rock” sound. This amp is notable in that it has no negative feedback around the power-amp and hence has a gritty character and less high-frequency response. <br />
**'''Top Boost''' - Based on the “Top Boost Mod” version of the Class A. The public yearned for a brighter amp and the designers responded by adding a treble boost circuit. At first this circuit was a retrofit but then included as standard. Our simulation captures the boosted high-frequency response and slightly reduced bass response of the original. <br />
**'''Plexi 1''' - Based on a classic British amp, the Plexi is great for crunchy rhythm work. The original was basically a copy of the 4x10 bass amp (see Blues type above) that guitar players adopted but with EL34 output tubes and other British components. Despite being essentially a copy it had a unique voice all its own. It has somewhat low preamp gain and works best with the Master and Drive both set fairly high. <br />
**'''Brit 800''' - The successor to the Plexi type was the vaunted 800 series lead amplifier. Many 80’s rock hits were born using this amp and we’ve captured its tone and put it into a neat little package. This amp had EL34 output tubes, some treble peaking on the input and a little more gain than the Plexi. Like the Plexi type it likes having the Master cranked. At low Master settings the amp can be brittle but bring the Master up and the true tone of this beast comes out. Try it with any of the 4x12 cabinet types for classic rock and metal tones. Try a drive block in front for more snarl. <br />
**'''Brit 900''' - The successor to the 800 series was the 900 series. This amp had basically the same power amp but a new preamp with more tone shaping, more gain, and a solid-state clipping circuit that gave it a raspier sound. This amp was designed to get more of it’s distortion from the preamp than the earlier models but you can still keep the drive low and turn up the Master for more power amp distortion. <br />
**'''Brown''' - Based on a modified British style head with plenty of gain and lots of mids and highs. This type captures the sound of Eddie’s early work. Crank the Master and bring the drive up until you reach sonic nirvana. <br />
**'''Boutique 1''' - A medium-gain, thick, yet crisp, sound with a fair amount of power amp breakup. Based on a now-defunct amplifier that was renowned for it’s liquid tone and endless sustain. This amp had very unique tone controls and as a result a distinctive voice with a bell-like quality. The preamp gain is fairly low so crank the Master to get that gutsy crunch. Good for rhythm work in a sparse situation where fullness of tone is required. <br />
**'''Boutique 2''' - Same as Boutique 1 but with more gain and a bit more high- frequency emphasis. The lead version of Boutique 1. <br />
**'''HiPower I''' - A medium-gain, full sound based on a famous “High Wattage” amp. These amps had a unique tone-stack and industrial quality output transformers with tremendous frequency response. Chimey with a bit of power amp breakup. Plug in your Tele and crank out some Baba O'Reilly. <br />
**'''HiPower II''' - Like HiPower I but using the “Brilliant” channel. <br />
**'''USA Clean''' - A somewhat neutral clean sound that can pushed into gentle clipping. Based on a classic California amp’s clean channel this type has a full tone with a gentle midrange dip. The power amp is punchy and clean but can be driven into light distortion if desired. Sounds best with the drive turned up fairly high. <br />
**'''USA Rhy 1''' - Crunchy California rhythm sound. Effective for solo use too with the gain turned up. <br />
**'''USA Rhy 2''' - Similar to USA Rhy 1 but with the “mid-boost” engaged. This effectively removes the midrange dip from the tone stack and gives a more focused sound and a bit more gain. <br />
**'''USA Lead 1''' - A tight, focused, hi-gain sound great for fusion and rock leads. Based on a modern Californian lead amp that set the standard for hi-gain lead tones. With the tone-stack before the preamp tubes this type has a more liquid response than the British types where the tone-stack is after the preamp. For the classic California lead sound turn the drive up and back off the Master a bit so that most of the distortion is coming from the preamp. <br />
**'''USA Lead 2''' - Similar to USA Lead I but with the “treble shift” engaged. This shifts the response of the treble control lower and gives a slightly different character to the tone. There is also a “treble peaker” on the input stage which slightly boosts the high frequencies giving this type a little more “cut”. <br />
**'''Recto 1''' - Based on a diamond-plated monster that redefined hard rock and “nu-metal” this type is characterized by a big bottom and some top-end sizzle. The tone-stack location is after the preamp which is quite a departure from the earlier Californian amplifiers. <br />
**'''Recto 2''' - Similar to Recto I but with a slightly different input frequency shaping circuit. <br />
**'''Solo 100''' - Based on a high-gain hot-rod with a chrome chassis, this amp is noted for it’s snarling lead sound. Also great for aggressive rhythm work, this type “chugs” nicely without getting muddy. Pair it with one of the 4x12 cabinet simulations for modern rock tones. <br />
**'''Spec. OD 1''' - Based on a coveted but rare lead head that was made famous by Larry Carlton and others. Another amp with a very strange tone-stack, this amp has a singing voice and is great for modern blues/fusion work. This is the clean channel.<br />
**'''Spec OD 2''' - The overdrive channel of the above. <br />
**'''Euro 1''' - Based on a German high-gain amp, these amps pay homage to the British amps but with lots more gain and more high-frequency emphasis. This type simulates the overdrive channel with the boost and “structure” switches off. <br />
**'''Euro 2''' - As above but with the boost and structure switches on. This one has lots of gain and plenty of low-end chunk along with a crispy top-end. Great for modern metal. <br />
**'''UK GC30''' - Based on a great British amp introduced in the 90’s this amp is a strange marriage of a USA style pre-distortion tone-stack, British voicing and a Class A power amp. Best for blues and lower-gain rock leads, has nice sustain qualities. Can get muddy at high drive levels, decrease the bass to compensate. <br />
**'''Buttery''' - Based on an 18-watt amp that gained notoriety during the late 90’s this type is a low-gain amp that relies mostly on power amplifier distortion. Try a drive in front for smooth lead sounds. <br />
**'''Metal''' - A custom type similar to a British type but with more gain for more grind. This simulation features quite a bit of high-frequency emphasis along with a modified British tone-stack. Capable of searing rhythm and lead tones. <br />
**'''Big Hair''' - Spandex, studded wrist bands, pyrotechnics and your Axe-Fx are all you'll need to relive the 80's metal scene. This custom type has a unique voicing and tone-stack that emphasizes mid frequencies without getting muddy. Now plug in and shred! <br />
**'''Hellbeast''' - A radical custom type with an unconventional tone-stack. <br />
**'''Supertweed''' - Like a vintage Tweed amplifier on steroids. <br />
**'''Fusion''' - A smooth, thick tone good for fusion/blues solo work. <br />
**'''FAS Clean''' - Combines the best features of the Blackface and the USA Clean into a hybrid clean tone that’s great for a variety of uses. <br />
**'''FAS Crunch''' - A hybrid British/USA crunch sound. <br />
**'''FAS Lead 1''' - A neutral high gain lead with a tight midrange. <br />
**'''FAS Lead 2''' - More gain and more sizzle. <br />
**'''FAS Modern''' - A high gain hybrid tone that’s equally suited to modern rhythm and lead work. <br />
**'''JR Blues''' - Based on a modern all-tube combo amp with two EL84 output tubes and a single 12” speaker. This amplifier has become an instant classic because of its gutsy tone at manageable volumes. <br />
**'''Brit Pre''' - Based on a rack-mount preamplifier version of the '''Brit 900'''. The preamp gained notoriety for its crunchy tone and was made popular by ZZ Top. <br />
**'''Recto New''' - Based on the modern version of the Recto 1 and Recto 2 amps. Some minor circuit changes made this version slightly more aggressive than the originals. <br />
**'''Energyball''' - Based on a very high-gain German amplifier. Lots of bass, great for aggressive, drop-tuned riff work.<br />
**'''Had ODS1''' - Based on a very rare amp used by the likes of Larry Carlton and Robben Ford.<br />
**'''Wrecker1''' - Based on another very rare and expensive amp designed by Ken Fischer.<br />
**'''Brit JM45''' - Based on a legendary British Blues amplifier. This amp was actually a copy of the American “bass” amp that many guitar players were using but with different output tubes and transformer. Made famous by Eric Clapton and others.<br />
**'''Das Metall''' - Based on a high-gain, boutique German amplifier famous for its aggressive sound.<br />
**'''Plexi 2''' - Similar to Plexi 1 model but with different treble peaker on volume control and other minor changes.<br />
**'''SV BASS''' - Based on Ampeg SVT<br />
**'''CA3+ RHY''' - Based on the rhythm channel of a famous custom built preamplifier (channel # 2)<br />
**'''CA3+ LD''' - Based on the lead channel of a famous custom built preamplifier (channel # 3)<br />
**'''Eggie R20''' - Based on a popular “rebellious” 20W amplifier head.<br />
**'''USA MIIC+ 1''' - Mesa Boogie MkII Lead Pull Bright off<br />
**'''USA MIIC+ 2''' - Mesa Boogie MkII Lead Pull Bright on<br />
**'''Fryer D60L''' - VHT Deliverance 60 Less switched<br />
**'''Fryer D60M''' - VHT Deliverance 60 More switched<br />
**'''Mr. Z 38 SR''' - Dr. Z Maz 38 SR<br />
**'''Euro Uber''' - Bogner Ubershall<br />
**'''PVH 5105''' - Peavey 5150<br />
**'''Solo 99 Cln''' - <br />
**'''Solo 99 Rhy''' -<br />
**'''Solo 99 Ld''' -<br />
**'''Corncob R100''' -<br />
*'''BRIGHT''' - Many amplifiers contain a “treble peaker” on the volume or drive control (see '''DRIVE''' below). Some amplifiers have a “bright switch” that can be used to engage or disengage the circuit. On many amps this switch is built in to the volume control as a “pull on” switch. On others the circuit is hard-wired. <br>The Axe-Fx amp types default to a particular state for the bright switch. If the amp had a hard-wired treble peaker the default state is on. If the amp had no circuit at all the default state is off. You many override this state by selecting the '''TREB''' control and pressing '''ENTER'''. This will toggle the state of the switch. The text “BRIGHT” will appear under the control when the bright circuit is active. <br>If the original amp did not have a treble peaker circuit, the bright switch uses circuit values most suited to an amp of that type. On some amps the effect may be subtle, on others, quite pronounced. <br />
*'''DRIVE''' - Sets the preamp drive. Higher settings equal more preamp distortion. On some amplifier types the drive control has a treble peaker (like the original). When the drive is turned down the low frequencies are attenuated more than the high. As the drive is turned up the low frequencies are increased more. <br>Many amplifiers have this feature and it can be heard as the drive is varied. You can use this to achieve the exact sound you’re looking for when a drive block feeds the amp. Adjust the drive control of the amp to achieve the desired amount of input treble peaking and then adjust the drive and the output level of the drive block to achieve the desired amount of distortion. <br>The Drive control has 40 dB of range. At a setting of ‘0’ the gain is 40 dB below the maximum gain.<br />
*'''BOOST''' - adds an additional 12db of gain for added preamp distortion. You many toggle this state by selecting the '''TYPE''' control and pressing '''ENTER'''. This will toggle the state of the switch. The text “BOOST” will appear under the control when the boost circuit is active.<br />
*'''BASS, MID, TREB''' - Tone controls. The tone controls in the Axe-Fx have up to twice the range of a typical amplifier. When a tone control is set to the 12:00 position (0.0 dB) it is equivalent to the simulated amplifiers control at 12:00. However, the boost cut range of the control is greater, +/- 12 dB, whereas a typical amplifier may have only +/- 6 dB or less. This allows you to get sounds, like heavily scooped mids or boosted treble, that normally wouldn't be possible. <br>Also, the tone controls do not interact like a typical amplifier. So when you turn the treble control the midrange and bass are not affected. This makes dialing in a certain tone easier and quicker than with a typical tone stack. This does not affect the voicing of the simulation in that the frequency response of the original circuit is always achieved however the exact setting of the controls will be somewhat different. In general the Axe-Fx tone controls are more sensitive than a typical amp and require less extreme settings to achieve the same sound. For example, if you set the treble to full on a British hi-gain amp, the corresponding setting on the Axe-Fx is about 5.0 dB. The advantage of this philosophy is ease of use plus more flexibility and wider range of tones. Adjust the tone controls slowly and listen carefully. A 1.0 dB adjustment can make a marked difference in the tone. <br>Some of the amps simulated do not have the full complement of tone controls. In those cases setting the control to 12:00 replicates the original. For example, some early amps did not have Mid controls. To capture the original faithfully simply set the control to ‘0’. Adjust the control as desired to achieve new and different tones. <br>Be careful in setting the tone controls as extreme settings along with high gain can cause pickup squealing or excessive noise. <br />
*'''PRES''' - Power amp presence control. This control boosts (or cuts) the upper frequencies from the power amp simulator by varying the [[negative feedback]] frequency response. Increasing this can help your sound “cut” through a heavy mix. This control actually has a greater range than a standard presence control. Values greater than zero behave like a typical tube amp, values less than zero actually reduce the high-frequency response even further. <br>If the Damping is set to zero this control is converted to a high-shelf equalizer at the output of the power amp. This allows you to control the high-frequency response of the power amp for types that don’t have any negative feedback.<br />
*'''HI CUT''' - This control sets the cutoff frequency of a lowpass filter at the very end of the preamp simulation. It defaults to a preset value for each amp type but can be overridden if desired. Experiment with this to fine tune your tone. For example, some of the higher gain types are characterized by fairly heavy filtering after the preamp stage but with this control you can reduce the amount of filtering and achieve a brighter tone. Conversely you gain reduce this value to achieve a darker or less brittle tone. <br> If using the Axe-Fx along with a separate tube power amp you may wish to experiment with this control to achieve the desired tone as the power amp may have it’s own high-frequency filtering. <br />
*'''DEPTH''' - This controls the effective output impedance of the power amp simulation. Higher values increase the impedance which increases the interaction of the virtual speaker with the power amp. Higher values give a fuller, looser sound, while low values can be used to achieve a more focused sound. <br />
*'''DEEP''' - Power amp deep control. This control boosts the low frequencies from the power amp simulation by varying the negative feedback frequency response. Defaults to an appropriate value when the amp type is selected but may be overridden by the user.<br />
*'''DAMP''' - This controls the amount of [[negative feedback]], or damping, in the power amp simulation. Higher values give a tighter and brighter sound but can sound harsh at very high master volume levels. Lower values give a loose and gritty sound and feel. Each amp type defaults to a its own value but you may override the default value with this control. For example, a Top Boost amp has no negative feedback and as a result a unique tonal character. You can override the default damping and dial in some negative feedback to give the power amp a more “American” sound but still retain the preamp voicing. <br />
*'''SAG''' - This controls how dynamic the power amp simulation behaves. Higher settings simulate higher power supply impedance and thus more droop in the tube plate voltages which leads to a more compressed feel. <br> This control interacts with the Master Volume control in that at low Master Volume settings this control will have little effect as the power amp is not being pushed. As the power amp is pushed and draws more virtual current from its virtual power supply the Sag control will have more effect. <br> ''NOTE: Turning this control fully CCW defeats the power amp simulation. If you are using the Axe-Fx into an external tube power amp and cabinet you may want to set this control to zero to defeat the power amp simulation.'' <br />
<br />
<noinclude>With the power amp sims off the depth and deep controls are deactivated. The master works as just a volume and the presence turns into a shelving filter.</noinclude><br />
*'''MSTR VOL''' - This, the Master Volume, is a very important control. It determines the drive to the power amp simulator. A higher setting increases the distortion contributed by the power amp simulator. As the Master is turned up the entire character of the amp will change, just like the real thing. The tone controls will have less influence on the sound, and the sound will “bloom” more and be more touch sensitive. <br> By carefully balancing Drive and Master Volume you can achieve the tone you desire. Experiment with the two to achieve your ultimate tone. Sometimes the tone you desire may be mostly preamp based and as such turn the Drive up and the Master down. Other times the tone may be mostly from the power amp so crank the Master up and back off the Drive. Amps with negative feedback (damping greater than zero) tend to have a crunchier power amp distortion and this can even get raspy if driven too hard. This is due to the negative feedback attempting to linearize the power amp. The resulting transfer function is harsher at clipping than an amp with little or no feedback. You can experiment with the damping control and master volume to achieve the desired power amp distortion timbre.<br> If the Master Volume is set very high best results are usually achieved by reducing the drive control. Try setting the Master around 9 or so and then slowly bringing the drive up until the desired tone is achieved. At high Master settings less drive is usually required, especially for high-gain types. <br> Amp types that are designed for preamp distortion typically sound better with lower values of this control and too high of a value can make the tone muddy or excessively noisy. This includes the USA Lead types, SOLO 100 and others. Lower gain amps such as Plexi, Brownface, and others can benefit from higher settings as this can reduce the harshness of the amp. <br> If the power amp simulation is off (Sag at zero) this control then becomes a simple level control. This control has 40 dB of range. A setting of ‘5’ is therefore 20 dB less than maximum. <br />
*'''LOWCUT FREQ''' - This control allows you to reduce the amount of low frequency content at the input to the amp simulator. This parameter defaults to a value for each type but can be overridden if desired. A higher value will "tighten" up the amp, since what a user calls "flub" is low frequency distortion.<br />
*'''Bright Cap''' - This control sets the value of the “bright cap” across the virtual drive control. Increasing this will make the preamp brighter and vice-versa. The Bright Switch must be engaged for the effect to be audible. <br />
*'''TONESTACK TYPE'''- This control allows you to select the type of tone stack used in the simulation. The tone stack will default to either '''ACTIVE''' or '''PASSIVE''' depending upon the '''DEFAULT TONESTK''' parameter in the '''GLOBAL''' menu. When set to '''ACTIVE''', the tone stack is a semi-parametric EQ with +/- 12 dB of range for each control. When set to '''PASSIVE''', the tone stack is an exact digital recreation of the classic tone stack used in the amplifier being simulated. You can also choose from a wide selection of other tone stacks if desired. Fifteen classic passive tone stacks are available to choose from. So you can dial up a Plexi model and change the tone stack to a Blackface or Top Boost, etc yielding hybrid amp sounds.<br />
*'''WARMTH'''-This controls the power tube and transformer interaction. Set to zero to deactivate. Increasing this value increases the apparent warmth and depth of the tone, especially as the power amp is driven harder. This parameter defaults to a non-zero value whenever a new amp type is chosen. <br />
*'''THUMP'''- This models the output transformer interaction with the speaker impedance. The amount of thump is adjustable from 0 – 10. Value is set to a default value when amp type is selected. When using a tube power amp you may want to set this to zero as the tube power amp will produce it’s own thump. To facilitate this the global power amp bypass has an additional mode that deactivates the thump modeling.<br />
*'''TONE FREQ''' - This control allows you to alter the center frequency of the tone controls. You can use this to change the character of the preamp. This parameter defaults to a value for each type but can be overridden if desired. <br />
*'''XFRMR MATCH''' - This controls the effective output impedance of the power amp simulation. Higher values increase the impedance which increases the interaction of the virtual speaker with the power amp. Higher values give a fuller, looser sound, while low values can be used to achieve a more focused sound.<br />
*'''XFORMER LF''' - This control allows you to alter the lower cutoff frequency of the “output transformer”. Increase this value to simulate an old, under-designed transformer as was common in some vintage amps. This parameter defaults to a value for each type but can be overridden if desired. <br />
*'''XFORMER HF''' - This control allows you to alter the upper cutoff frequency of the “output transformer”. Decrease this value to simulate narrow bandwidth transformers as were common in some vintage amps. This parameter defaults to a value for each type but can be overridden if desired. <br />
*'''TONE LOCATION''' - This control allows you to alter the location of the tone stack. “PRE” places the tone stack at the input to the amp, “POST” places the stack between the preamp and power amp. "END" places the tonestack after the power amp simulation. This parameter defaults to a value for each type but can be overridden if desired.<br />
*'''PWR TUBE BIAS '''- This parameter can be used to fine-tune the virtual power tubes’ bias points. A value of zero corresponds to full Class B operation. A value of one corresponds to full Class A operation. Values in between are therefore Class AB. For traditional Class AB power amps (i.e. Marshall, Fender, etc.) a value of 0.35 is considered the “optimum” bias point. For traditional Class A amps, (which aren’t really true Class A, i.e. Vox, Matchless, etc.) a setting of 0.75 corresponds to the typical bias value these amps are run at. Lower values of bias increase the amount of crossover distortion, add “hair” to the sound and make the power amp more “explosive” since the transfer function slope increases with input level. Higher values of bias yield less distortion, “rounder” sound, more linear response and a more compressed feel. At high Master Volume settings the effect of bias may be subtle. As the Master Volume is turned down the audible effect is more pronounced. Increasing the Damping increases the linearity of the power amp and also serves to reduce the audible effect of the bias control.<br />
*'''PRESENCE FREQ''' - This control allows you to alter the center frequency of the presence control. This parameter defaults to a value for each type but can be overridden if desired.<br />
*'''B+ CAPACITANCE''' - This control allows you to alter the amount of filtering capacitance on the power amp virtual power supply. Higher values will make the response stiffer and “faster”. Lower values will give a looser feel. Use along with the SAG control to fine-tune the response. <br />
*'''SPKR RES FREQ''' - This control allows adjustment of the virtual speaker impedance's resonance frequency. It defaults to the value of the cabinet that would typically be paired with the '''TYPE''', but can be adjusted to retune the response. This control has the most effect when the Depth controls is fairly high (as depth controls the amp output impedance).<br />
*'''STABILIZER''' - Under certain extreme settings of '''DEPTH''' and '''DAMP''' the simulation may go unstable. This would happen in a real amplifier as well. The '''STABILIZER''' switch alters the “grid capacitor” values to ensure stability. (Alternatively you can reduce the '''XFORMER LF''' value. This will usually remove any instability, although occasionally it won't. In those cases you can use the '''STABILIZER'''.)<br />
*'''LEVEL, PAN, BYP MODE''' - These are the standard output mixer controls. <br />
<br />
<noinclude><br />
<br />
====Global amp====<br />
To use the global amp feature:<br />
* Turn the GLOBL knob to select one of the ten 'Global Amps". As soon as you turn it from off it will load the parameters. <br />
Now make your adjustments: type, drive, etc. * Save the preset. <br />
* Now if you go to another preset and set the GLOBL to the same value all the values you saved with the previous preset are loaded. <br />
* So any preset that uses the same Global Amp number will have the exact same parameter values. If you edit an amp block that uses a Global Amp and save the preset, all the other presets that use the same Global Amp will reflect those changes. For example, if you set an amp to GLOBAL2 and adjust that amp to be a Plexi model with various drive, bass, etc., anytime you recall a preset with the GLOBL set to GLOBAL2 that amp will use the same parameters.<br />
<br />
<br />
====Varying the drive/gain====<br />
{{:Varying drive}}<br />
<br />
<br />
====Using different amp sims====<br />
{{main|Using different amp simulations}}<br />
The amp sims are based on real world designs and therefore have certain quirks and nuances like the amps they're based off of exhibit. Take time to learn how different knobs, especially tone controls, react and possibly interact in the different sims.<br />
<br />
<br />
====Imitating other amps====<br />
{{main| Amp imitation}}<br />
The advanced parameters can be used to tweak existing amp sims to emulate additional amplifier types with similar designs.<br />
<br />
<br />
====List of amp simulations====<br />
{{:List of amp simulations}}<br />
<br />
<br />
<br />
{{stub}}<br />
<br />
</noinclude><br />
[[Category:Effect blocks]]</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Delay&diff=1053Delay2008-02-25T13:36:17Z<p>Acwild: /* Tape delay */</p>
<hr />
<div>[[Image:Delay_block.jpg|right|350px]]<br />
The real strength of digital processing was first exhibited with the original digital delay processors. Before that delay processing was done using analog delay devices or tape-based techniques. These methods suffered from poor frequency response, noise, and in the mechanical versions, reliability concerns. Digital delays address all of these shortcomings while providing longer delay times. <br />
<br />
The Axe-Fx contains two different types of delay blocks. The regular Delay, described here, is your basic digital delay (with a few enhancements). We'll talk about the Multi-Delay later. The Delay has five different modes: Mono, Stereo, Ping-Pong, Dual and Reverse. In Mono mode the inputs are summed and only the left delay line is used. This allows quick, classic delay sounds. The Stereo mode allows independent left and right delay time and feedback allowing for modern stereo delay sounds. The Ping-Pong mode criss-crosses the signal so that the echoes ping-pong left and right. The Dual mode allows full control over the delay block providing controls for all parameters. The Reverse mode is a special mono reverse looper capable of strange and exotic reverse playback effects. <br />
<br />
The Delay also contains a lowcut and highcut filter to allow frequency response tailoring of the repeats. By turning down the highcut frequency you can simulate the sound of a tape delay with it's poor high frequency response. Turning up the lowcut frequency can give a thin delay sound for special effects.<br />
<br />
The Delay also contains two delay time modulators that can be used to slightly modulate the delay time. These can be used to add depth to the echoes or to simulate an old tape-based echo unit. One can be used, for example, to simulate the slow fluctuation of a worn belt in a tape echo with the other simulating a worn capstan (wow and flutter). <br />
<br />
The first and third pages of the Delay menu are the same for all types. The second page of the edit menu changes based on the type of delay selected. <br />
<br />
<noinclude>Most delay types offer eight seconds of delay. The dual delay mode offers two eight second delays and the looper provides up to sixteen seconds of looping time.</noinclude><br />
<br />
====Parameters====<br />
=====Common Parameters=====<br />
*'''TYPE''' - Selects between the various delay types available. <br />
*'''INGAIN''' - Sets the input level into the delay lines. The primary purpose of this is to allow you to attach a controller (i.e. pedal) to control the delay level without disturbing the mix. Set the mix at the desired maximum echo level and then use the INLVL control (via a pedal) to control the echo level. This is different than controlling the echo level with the MIX control since the echoes will continue to sound after the control is set to zero whereas using the MIX control the echoes will be immediately cut off. If you are not attaching a controller then you would normally set this to 100% (default). <br />
*'''LOCUT''' - Sets the cutoff frequency of the lowcut filter. Higher values remove more low frequency content from the delayed signal. <br />
*'''HICUT''' - Sets the cutoff frequency of the highcut filter. Lower values remove more high frequency content from the delayed signal. <br />
*'''DRIVE''' - Sets the drive level into the tube simulator. This can be used to add some distortion to the echo like an old tube-based tape delay. This control has no effect when using the Reverse delay type. <br />
=====Modulation Parameters=====<br />
The '''MOD''' page contains the various dynamic parameters that can be adjusted. <br />
*'''LFO1/2 TYPE''' - Sets the type of LFO for the delay time modulators. <br />
*'''LFO1/2 TARGET''' - Sets which channel(s) each delay time modulator affects. Each modulator can be independently assigned to either left, right, both or no channels.<br />
*'''LFO1/2 RATE''' - Sets the rate of the time modulators. The delay time can be modulated so as to simulate a worn capstan or belt or to add a chorus effect to the echoes. <br />
*'''LFO1/2 DEPTH''' - Sets the depth of the time modulators. Use in conjunction with the rate controls. <br />
*'''DEPTH RANGE''' - The modulators use “auto depth”, faster rates automatically decrease the depth and vice-versa. The '''DEPTH RANGE''' control allows selecting the amount of maximum depth. <br />
*'''DUCKER''' - Turns the delay ducking on or off. Ducking reduces the volume of the delayed signal in response to your playing. The volume of the echoes then increases when you stop playing. <br />
*'''ATTENUATION''' - Sets the attenuation depth of the ducker. A setting of 20 dB, for example, will decrease the echoes by 20 dB when the input level is above the threshold. <br />
*'''THRESHOLD''' - Sets the trigger threshold of the ducker. If the input signal exceeds this value the delayed signal will be attenuated by an amount equal to that set with the '''ATTENUATION''' control. <br />
*'''RELEASE RATE''' - Sets the rate at which the ducker releases the attenuation when the input signal falls below the threshold.<br />
{{Ultra}}<br />
* '''DIFFUSION'''- Sets the amount of echo diffusion. This causes the echoes to get “fuzzy” and can be used to smooth the echoes<br />
{{Ultra}}<br />
* '''DIFF TIME'''- Sets the delay time for the diffuser. <br />
*'''PHASE REV''' - When set to '''ON''', inverts the phase of the right channel. This can be used to widen the stereo effect.<br />
<br />
=====Mono Delay=====<br />
*'''TIME''' - Sets the time of the delay lines. <br />
*'''FEEDBK''' - Sets the amount of delay feedback. This controls how many repeats are heard. <br />
*'''ECHO PAN''' - Controls the placement of the echoes in the stereo image. Note that this is different than the PAN control on the MIX page which controls the panning of the mixed sound. This control only effects the wet signal.<br />
*'''TEMPO''' - Locks the time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''.<br />
<br />
=====Stereo Delay=====<br />
*'''TIME''' - Sets the time of the delay lines. <br />
*'''RATIO''' - Sets the ratio of the delay time of the right channel relative to the left channel. A ratio of 1.0 sets both channels equal. Decreasing this value decreases the delay time of the right channel.<br />
*'''SPREAD''' - Controls the stereo spread of the echoes. Increasing this value increases the separation between the left and right delay signals. <br />
*'''FEEDBACK L''' - Sets the amount of delay feedback for the left channel. <br />
*'''FEEDBACK R''' - Sets the amount of delay feedback for the right channel. <br />
*'''TEMPO''' - Locks the left delay time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''.<br />
<br />
=====Ping-Pong Delay=====<br />
*'''TIME''' - Sets the time of the delay lines. <br />
*'''FEEDBK''' - Sets the amount of delay feedback. This controls how many repeats are heard. <br />
*'''SPREAD''' - Controls the stereo spread of the echoes. Increasing this value increases the separation between the left and right delay signals. <br />
*'''TEMPO''' - Locks the delay time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''.<br />
<br />
=====Dual Delay=====<br />
*'''TIME L''' - Sets the time of the left delay line. <br />
*'''TIME R''' - Sets the time of the right delay line. <br />
*'''TEMPO L/R''' - Locks the delay time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''. <br />
*'''FEEDBK L->L/R->R''' - Sets the amount of delay feedback for the delay line. This controls how many repeats are heard. <br />
*'''FEEDBK L->R/R->L''' - Sets the amount of cross feedback for the delay lines. This controls how much of the left delay line is fed back to the right and vice-versa. <br />
*'''LEVEL L/R''' - Sets the volume level of the delayed signals.<br />
*'''PAN L/R''' - Controls the panning of the delayed signals. <br />
<br />
<br />
=====Reverse Delay=====<br />
*'''TIME''' - Sets the time of the delay lines. <br />
*'''FEEDBK''' - Sets the amount of delay feedback. This controls how many repeats are heard. Use caution as instability can occur with the reverse type with certain parameter settings. <br />
*'''ECHO PAN''' - Controls the placement of the echoes in the stereo image. Note that this is different than the PAN control on the MIX page which controls the panning of the mixed sound. This control only effects the wet signal. <br />
*'''RUN''' - When this is set to '''ON''' the reverse playback is active. You can start and stop playback using this or by attaching a controller to it. <br />
*'''TRIG RESTART''' - When this is set to '''ON''' the reverse playback restarts when triggered via the '''RUN''' control. If set to '''OFF''', the playback continues from the current position.<br />
*'''TEMPO''' - Locks the time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''.<br />
*'''XFADE TIME''' - Sets the crossfade time between reverse audio snippets. When the playback position approaches the delay time a new snippet begins playback at time zero. The crossfade time controls how long it takes for the old snippet to fade out and the new one to fade in. You can achieve interesting and rhythmic variations by setting a long crossfade time. For classic reverse delay sounds set this at or near its minimum value.<br />
<br />
=====Looper=====<br />
{{Ultra}}<br />
The Looper is a sixteen second phrase sampler. The Looper controls are different than the other effects in that they are “pushbutton” controls rather than knobs. Selecting the control and pressing ENTER toggles the state of the control. The Looper controls have dedicated MIDI CC assignments as well so you can control the Looper using a MIDI footpedal or other MIDI device. Access to the CC assignments is done in the I/O menu.<br />
*'''RECORD''' - When record is activated the Looper records the audio input. Pressing record again stops recording and immediately begins playback. <br />
*'''PLAY''' - Toggles the playback state. If recording, pressing play immediately stops recording and starts playback.. <br />
*'''ONCE''' - This control plays the phrase one time only and then stops. If the phrase is already playing the phrase continues playing until the end and stops. If the playback is stopped, pressing this plays the phrase one time. Pressing this again while the phrase is playing resets playback to the beginning allowing for “stutter” effects. <br />
*'''STACK''' - Pressing this adds the audio input to the existing phrase. Pressing it again stops the addition. The existing audio is faded every time through the loop. <br />
*'''REV''' - Pressing this reverses the direction of the loop playback. <br />
<br />
<br />
<noinclude><br />
====Spillover====<br />
{{:Spillover}}<br />
<br />
<br />
====Tape delay====<br />
Try the following settings to emulate a tape delay:<br />
* Time, Feedback & Mix to taste/tempo<br />
* Ratio: 99.6% <br />
* Hi-Cut: 150 Hz <br />
* Lo-Cut: 4 kHz <br />
* Drive: 6 <br />
* LFO2 Rate: 3 Hz <br />
* LFO2 Depth: 30% <br />
* LFO2 Phase: 90 deg <br />
* Attenuation: 0 dB<br />
* For increase tape effect, put a [[Drive]] block set to Tape Dist before the Delay block.<br />
* If you want a little more wow (more applies to records than tape) set the LFO1 below 1 Hz, and depth to taste. Setting the Depth low and type to Random on the LFO can lead to a subtle unstable effect if you wish.<br />
** 1.3 Hz = 75 RPM<br />
** .75 Hz = 45 RPM<br />
** .555 Hz = 33.33 RPM<br />
* If you want more flutter, set LFO1 above 4 Hz. A Random LFO around 8-9 Hz can give a warped tape feel.<br />
* Set ''both'' LFO's to Random for even more damaged tape.<br />
* Putting the LFO1/2 Rates on either side of 4 Hz will be the most objectionable.<br />
<br />
''Recommended for use with low to medium gain amps.''<br />
<br />
'''''Caution-The drive is mono so it will sum the left and right. In many cases this will cause weird phase cancellations (which is typically a "hollow" sound).''''' <br />
<br />
<br />
</noinclude><br />
<br />
[[Category:Effect blocks]]</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Delay&diff=1052Delay2008-02-25T13:33:59Z<p>Acwild: /* Tape delay */</p>
<hr />
<div>[[Image:Delay_block.jpg|right|350px]]<br />
The real strength of digital processing was first exhibited with the original digital delay processors. Before that delay processing was done using analog delay devices or tape-based techniques. These methods suffered from poor frequency response, noise, and in the mechanical versions, reliability concerns. Digital delays address all of these shortcomings while providing longer delay times. <br />
<br />
The Axe-Fx contains two different types of delay blocks. The regular Delay, described here, is your basic digital delay (with a few enhancements). We'll talk about the Multi-Delay later. The Delay has five different modes: Mono, Stereo, Ping-Pong, Dual and Reverse. In Mono mode the inputs are summed and only the left delay line is used. This allows quick, classic delay sounds. The Stereo mode allows independent left and right delay time and feedback allowing for modern stereo delay sounds. The Ping-Pong mode criss-crosses the signal so that the echoes ping-pong left and right. The Dual mode allows full control over the delay block providing controls for all parameters. The Reverse mode is a special mono reverse looper capable of strange and exotic reverse playback effects. <br />
<br />
The Delay also contains a lowcut and highcut filter to allow frequency response tailoring of the repeats. By turning down the highcut frequency you can simulate the sound of a tape delay with it's poor high frequency response. Turning up the lowcut frequency can give a thin delay sound for special effects.<br />
<br />
The Delay also contains two delay time modulators that can be used to slightly modulate the delay time. These can be used to add depth to the echoes or to simulate an old tape-based echo unit. One can be used, for example, to simulate the slow fluctuation of a worn belt in a tape echo with the other simulating a worn capstan (wow and flutter). <br />
<br />
The first and third pages of the Delay menu are the same for all types. The second page of the edit menu changes based on the type of delay selected. <br />
<br />
<noinclude>Most delay types offer eight seconds of delay. The dual delay mode offers two eight second delays and the looper provides up to sixteen seconds of looping time.</noinclude><br />
<br />
====Parameters====<br />
=====Common Parameters=====<br />
*'''TYPE''' - Selects between the various delay types available. <br />
*'''INGAIN''' - Sets the input level into the delay lines. The primary purpose of this is to allow you to attach a controller (i.e. pedal) to control the delay level without disturbing the mix. Set the mix at the desired maximum echo level and then use the INLVL control (via a pedal) to control the echo level. This is different than controlling the echo level with the MIX control since the echoes will continue to sound after the control is set to zero whereas using the MIX control the echoes will be immediately cut off. If you are not attaching a controller then you would normally set this to 100% (default). <br />
*'''LOCUT''' - Sets the cutoff frequency of the lowcut filter. Higher values remove more low frequency content from the delayed signal. <br />
*'''HICUT''' - Sets the cutoff frequency of the highcut filter. Lower values remove more high frequency content from the delayed signal. <br />
*'''DRIVE''' - Sets the drive level into the tube simulator. This can be used to add some distortion to the echo like an old tube-based tape delay. This control has no effect when using the Reverse delay type. <br />
=====Modulation Parameters=====<br />
The '''MOD''' page contains the various dynamic parameters that can be adjusted. <br />
*'''LFO1/2 TYPE''' - Sets the type of LFO for the delay time modulators. <br />
*'''LFO1/2 TARGET''' - Sets which channel(s) each delay time modulator affects. Each modulator can be independently assigned to either left, right, both or no channels.<br />
*'''LFO1/2 RATE''' - Sets the rate of the time modulators. The delay time can be modulated so as to simulate a worn capstan or belt or to add a chorus effect to the echoes. <br />
*'''LFO1/2 DEPTH''' - Sets the depth of the time modulators. Use in conjunction with the rate controls. <br />
*'''DEPTH RANGE''' - The modulators use “auto depth”, faster rates automatically decrease the depth and vice-versa. The '''DEPTH RANGE''' control allows selecting the amount of maximum depth. <br />
*'''DUCKER''' - Turns the delay ducking on or off. Ducking reduces the volume of the delayed signal in response to your playing. The volume of the echoes then increases when you stop playing. <br />
*'''ATTENUATION''' - Sets the attenuation depth of the ducker. A setting of 20 dB, for example, will decrease the echoes by 20 dB when the input level is above the threshold. <br />
*'''THRESHOLD''' - Sets the trigger threshold of the ducker. If the input signal exceeds this value the delayed signal will be attenuated by an amount equal to that set with the '''ATTENUATION''' control. <br />
*'''RELEASE RATE''' - Sets the rate at which the ducker releases the attenuation when the input signal falls below the threshold.<br />
{{Ultra}}<br />
* '''DIFFUSION'''- Sets the amount of echo diffusion. This causes the echoes to get “fuzzy” and can be used to smooth the echoes<br />
{{Ultra}}<br />
* '''DIFF TIME'''- Sets the delay time for the diffuser. <br />
*'''PHASE REV''' - When set to '''ON''', inverts the phase of the right channel. This can be used to widen the stereo effect.<br />
<br />
=====Mono Delay=====<br />
*'''TIME''' - Sets the time of the delay lines. <br />
*'''FEEDBK''' - Sets the amount of delay feedback. This controls how many repeats are heard. <br />
*'''ECHO PAN''' - Controls the placement of the echoes in the stereo image. Note that this is different than the PAN control on the MIX page which controls the panning of the mixed sound. This control only effects the wet signal.<br />
*'''TEMPO''' - Locks the time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''.<br />
<br />
=====Stereo Delay=====<br />
*'''TIME''' - Sets the time of the delay lines. <br />
*'''RATIO''' - Sets the ratio of the delay time of the right channel relative to the left channel. A ratio of 1.0 sets both channels equal. Decreasing this value decreases the delay time of the right channel.<br />
*'''SPREAD''' - Controls the stereo spread of the echoes. Increasing this value increases the separation between the left and right delay signals. <br />
*'''FEEDBACK L''' - Sets the amount of delay feedback for the left channel. <br />
*'''FEEDBACK R''' - Sets the amount of delay feedback for the right channel. <br />
*'''TEMPO''' - Locks the left delay time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''.<br />
<br />
=====Ping-Pong Delay=====<br />
*'''TIME''' - Sets the time of the delay lines. <br />
*'''FEEDBK''' - Sets the amount of delay feedback. This controls how many repeats are heard. <br />
*'''SPREAD''' - Controls the stereo spread of the echoes. Increasing this value increases the separation between the left and right delay signals. <br />
*'''TEMPO''' - Locks the delay time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''.<br />
<br />
=====Dual Delay=====<br />
*'''TIME L''' - Sets the time of the left delay line. <br />
*'''TIME R''' - Sets the time of the right delay line. <br />
*'''TEMPO L/R''' - Locks the delay time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''. <br />
*'''FEEDBK L->L/R->R''' - Sets the amount of delay feedback for the delay line. This controls how many repeats are heard. <br />
*'''FEEDBK L->R/R->L''' - Sets the amount of cross feedback for the delay lines. This controls how much of the left delay line is fed back to the right and vice-versa. <br />
*'''LEVEL L/R''' - Sets the volume level of the delayed signals.<br />
*'''PAN L/R''' - Controls the panning of the delayed signals. <br />
<br />
<br />
=====Reverse Delay=====<br />
*'''TIME''' - Sets the time of the delay lines. <br />
*'''FEEDBK''' - Sets the amount of delay feedback. This controls how many repeats are heard. Use caution as instability can occur with the reverse type with certain parameter settings. <br />
*'''ECHO PAN''' - Controls the placement of the echoes in the stereo image. Note that this is different than the PAN control on the MIX page which controls the panning of the mixed sound. This control only effects the wet signal. <br />
*'''RUN''' - When this is set to '''ON''' the reverse playback is active. You can start and stop playback using this or by attaching a controller to it. <br />
*'''TRIG RESTART''' - When this is set to '''ON''' the reverse playback restarts when triggered via the '''RUN''' control. If set to '''OFF''', the playback continues from the current position.<br />
*'''TEMPO''' - Locks the time to the global tempo. For example, if the global tempo is 120 bpm and the tempo is set to a quarter note (1/4) then the time will be 500 ms (one echo per beat). To ignore the global tempo set the tempo control to '''NONE'''.<br />
*'''XFADE TIME''' - Sets the crossfade time between reverse audio snippets. When the playback position approaches the delay time a new snippet begins playback at time zero. The crossfade time controls how long it takes for the old snippet to fade out and the new one to fade in. You can achieve interesting and rhythmic variations by setting a long crossfade time. For classic reverse delay sounds set this at or near its minimum value.<br />
<br />
=====Looper=====<br />
{{Ultra}}<br />
The Looper is a sixteen second phrase sampler. The Looper controls are different than the other effects in that they are “pushbutton” controls rather than knobs. Selecting the control and pressing ENTER toggles the state of the control. The Looper controls have dedicated MIDI CC assignments as well so you can control the Looper using a MIDI footpedal or other MIDI device. Access to the CC assignments is done in the I/O menu.<br />
*'''RECORD''' - When record is activated the Looper records the audio input. Pressing record again stops recording and immediately begins playback. <br />
*'''PLAY''' - Toggles the playback state. If recording, pressing play immediately stops recording and starts playback.. <br />
*'''ONCE''' - This control plays the phrase one time only and then stops. If the phrase is already playing the phrase continues playing until the end and stops. If the playback is stopped, pressing this plays the phrase one time. Pressing this again while the phrase is playing resets playback to the beginning allowing for “stutter” effects. <br />
*'''STACK''' - Pressing this adds the audio input to the existing phrase. Pressing it again stops the addition. The existing audio is faded every time through the loop. <br />
*'''REV''' - Pressing this reverses the direction of the loop playback. <br />
<br />
<br />
<noinclude><br />
====Spillover====<br />
{{:Spillover}}<br />
<br />
<br />
====Tape delay====<br />
Try the following settings to emulate a tape delay:<br />
* Time, Feedback & Mix to taste/tempo<br />
* Ratio: 99.6% <br />
* Hi-Cut: 150 Hz <br />
* Lo-Cut: 4 kHz <br />
* Drive: 6 <br />
* LFO2 Rate: 3 Hz <br />
* LFO2 Depth: 30% <br />
* LFO2 Phase: 90 deg <br />
* Attenuation: 0 dB<br />
* For increase tape effect, put a [[Drive]] block set to Tape Dist before the Delay block.<br />
* If you want a little more wow (more applies to records than tape) set the LFO1 below 1 Hz, and depth to taste. Setting the Depth low and type to Random on the LFO can lead to a subtle unstable effect if you wish.<br />
** 1.3 Hz = 75 RPM<br />
** .75 Hz = 45 RPM<br />
** .555 Hz = 33.33 RPM<br />
* If you want more flutter, set LFO1 above 4 Hz. A Random LFO around 8-9 Hz can give a warped tape feel.<br />
* Set ''both'' LFO's to Random for even more damaged tape.<br />
* Putting the LFO1/2 Rates on either side of 4 Hz will be the most objectionable.<br />
<br />
''Caution-The drive is mono so it will sum the left and right. In many cases this will cause weird phase cancellations (which is typically a "hollow" sound).'' <br />
<br />
<br />
</noinclude><br />
<br />
[[Category:Effect blocks]]</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Tips&diff=624Tips2007-10-25T12:03:59Z<p>Acwild: /* Patch creation tips */</p>
<hr />
<div>===Undocumented or easily overlooked features===<br />
<br />
Press and hold Enter to automatically place and route shunts to the end of the chain. <br />
<br />
Each time you press '''EDIT''' it moves to the next effect in the matrix. If not on an effect it will move you to the nearest effect. <br />
<br />
The left and right arrows "wrap around" in the edit menus. <br />
<br />
Hold down '''BYPASS''' to restore all parameters of an effect to default. <br />
<br />
Each time you press Enter in the Sequencer menu loads a random set of values. You can use this to find cool sequence patterns.<br />
<br />
You may enable or disable the "bright switch" state by selecting the Treble control and pressing ENTER. This will toggle the state of the switch. The text “BRIGHT” will appear under the control when the bright circuit is active.<br />
<br />
You may enable or disable the "boost switch" state by selecting the Drive control and pressing ENTER. This will toggle the state of the switch. The text “BOOST” will appear under the control when the boost circuit is active. The boost switch adds 12db of gain to the amp simulation. This is usefull to get more drive out the amp than it would normally have.<br />
<br />
In addition to copying effects blocks, you can also copy the controller parameters (i.e, Envelope, ADSR, LFO, etc) from one preset to another. Just press the '''Recall''' button, page over to the '''Effect''' tab, select the proper preset to copy from, then select controller from the '''Retrieve''' area.<br />
<br />
You can use the feedback send and return to extend the length of a chain if necessary.<br />
<br />
On units built prior to mid-July 2007 the serial number is underneath the main-board. The serial number now is located on the back next to the AC inlet.<br />
<br />
One thing to try is to use two amps but only one cab. The amps are mono but the cabs are stereo. So you can feed two amps into one cab block. This will save roughly 10% CPU.<br />
<br />
With the power amp sims off the depth and deep controls are deactivated. The master works as just a volume and the presence turns into a shelving filter.<br />
<br />
===Patch creation tips===<br />
<br />
====Pitch Block Placement====<br />
When going direct, pitch shifting often sounds best when placed BEFORE the cab block. <br />
<br />
The factory presets may have the block doing the shifting (pitch or multidelay) after the cabinet block. Try moving the pitch before the cabinet block for smoother results.<br />
<br />
====Modulation Before Amp Block====<br />
<br />
Placing modulation effects (i.e. chorus, flanger) before the amp block can give a more vintage flavor to a preset. Most of the Axe-Fx factory presets follow the "studio" routing philosophy of putting modulation near the end. <br />
<br />
For example the following is the basis for Andy Summers tone: <br />
<br />
Compressor->Flanger->Blackface Amp->2x12 Cab->Stereo Delay w/ mod->Reverb <br />
<br />
Try this with the flanger time set to about 5 ms, rate around 0.8 Hz, Depth at 60% and Autodepth set to High. Set the amp fairly bright. Set the delay time to an eight note. Add a little modulation. <br />
<br />
Notice the flanger is before the amp block. The delay could also be before the amp block. It's unclear to me where Andy had his Memory Man. <br />
<br />
When using a modulation block before the amp block be sure to check the LFO Phase parameter. The amp blocks are mono and sum the left and right inputs. If you put a modulation block before the amp block set the LFO Phase to 0 degrees otherwise you might get weird cancellation effects when the two signals are summed in the amp block. <br />
<br />
====="Plexi Bright Setting":=====<br />
"One of the first mods people make to real 'Plexi' Marshalls is to "clip the bright cap". The bright cap varied over the years, supposedly depending on what was lying around in the shop. The model defaults to the bright cap in the circuit. If you turn the bright off you're effectively clipping the bright cap. <br />
<br />
With the bright cap in Marshalls can be very bright and harsh. However, if you crank the Master you might find the extra brightness helps compensate for the power amp getting darker." - CC<br />
<br />
<br />
<br />
<br />
====Tweaking tones for covers====<br />
{{:Tweaking tones for covers}}</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Tweaking_tones_for_covers&diff=623Tweaking tones for covers2007-10-25T12:03:06Z<p>Acwild: /* "Plexi Bright Setting": */</p>
<hr />
<div>For duplicating cover song tones while running Axe-FX direct. <br />
<br />
Just a few things I've come up with (so far) that have helped with the challenge of replicating tones of cover songs on the Axe-FX. They're just some very loose guidelines that have helped keep me "on course" in the tone journey and maybe you can use them. I didn't put anything about effects, just the basics of building a tone. If replication isn't your thing, please disregard. I'm far from an expert on any of this stuff and don't want to come across like I'm pretending to be one, so any additional insights are definitely welcome. <br />
<br />
=====1. Listen very closely to the original=====<br />
I usually try to sort out what kind of pickup was being used first. Unless you're an expert, the pickups, guitars, gear and production used in the original can make it very challenging to figure out if you're listening to a beefed up single coil type or a low power clean humbucker (not including all the other pickups out there). <br />
<br />
Chasing ways to beef up a single coil into a certain tonal makeup when it was really a humbucker used in the original can eat up lots of time. I get confused sometimes since I'm no guru, so the more I pick apart the original the better off I am. Of course you can always mangle things/shatter rules to beat a tone into submission...sometimes you come up with something even cooler. <br />
Listening to the original, taking breaks, then hearing it the next day invites more insights into the tone and helps you hear things you didn't catch the day before. <br />
<br />
=====2. Get to know the original gear used:=====<br />
The right amp/cab/mic choices can save time and confusion. Starting with the right configuration shortens tweaking time considerably. Knowing the original guitar/pickups helps a lot too. I only use one SSH strat style guitar at the gigs. If the original was an old gibson archtop with a neck p90, then I know it'll take a lot of tweaking and I'll never nail it, but the tools in the Axe-FX makes it easier to capture a similar tonal attitude. <br />
<br />
=====3. Keep it simple:=====<br />
For me, it works well to exhaust the most basic options first (pickups, amps, cabs, mics) before moving on to pedals and equalizers to shape a tone. As with everything else, the soil and foundation must be somewhat solid and accurate or everything else you build on top of it won't sound quite right. Don't get me wrong, chasing your tail can be fun...but how much progress do you really want to make today? <br />
<br />
=====4. Angel/Devil's in the details:=====<br />
======"EQ":======<br />
After "heating" up the amp to where it comes alive (master volume/drive) with a generic cabinet, sometimes I'll "eq" the amp with the cabinet and microphone before twisting tone knobs, sometimes after, but if I can get the amp tone closer with cabs/mics rather than eqing, it actually sounds/feels better than compensating for shortcomings with EQ. When approaching tone knobs, sometimes before I boost anything, I try the old "cut one to boost another" approach and take away other frequencies that might be masking the one I want to bring out. So far, I've only used graphic and parametric EQ for special effect, not to actually shape a tonal foundation. Sometimes less really is more. <br />
======"Clean":====== <br />
Sometimes a clean sound isn't really clean at all and can easily be overlooked if you're not listening closely enough. "Domino" byVan Morrison is a great example; sounds clean on a casual listen, but it actually has quite a bit of grit and hair in there. <br />
Dialed with a pristine clean, it sounds really nice, but in the mix it falls short dramatically. A little hair and dirt can really help the tone sit in the mix with a texture and feel that a pristine clean doesn't have.....even though the original "sounds" clean. <br />
======"Thump":====== <br />
Its easy to forget that many tones that might seem nasally or clean/thin actually have some amount of speaker thump and percussion in the original. Its hard to hear in the mix sometimes, but it adds a hidden body and energy to the sound. When you don't have it, it sounds like your virtual speakers aren't moving air, and the tone is more flat/thin/less alive. Dialing this can be tricky without getting the lows and mids sounding mushy. The guitar lows can easily overlap/compete with similar bass frequencies and mess up the mix live and in the studio.....the sound dude/engineer usually fixes it, but if you don't have one..... <br />
<br />
The right cabinet goes a long way as well, and the microphone choice is critical. I've listened to the mics hundreds of times. Some mics compress more, some have more "alive" dynamics, and they're all very different tonally. Some hollow out the sound, some thicken it up. If you match up the right mic with the right cab you can get a good balanced thump that still saves room for bass and kick without even touching the tone controls or throwing an EQ block in there. <br />
====="Dynamics":=====<br />
Apart from attempting to duplicate another player's dynamics, paying attention to the dynamic response of the original recording is paramount in capturing the "feel". The Axe-FX is revolutionary in the modelling world when it comes to just this, and because of that, you can dial in the feel of the original and customize it for your guitar and playing style. But if you don't go the extra mile to get that, you'll wonder what's missing. <br />
<br />
Starting simple works well: <br>How you end up running an amp (mastervolume & drive) creates a great deal of your initial dynamics. The cabinet influences that, and the microphone choice has a huge impact on it as well. Sometimes during that I'll grab the depth, damp, sag and adjust to taste if I think it'll contribute. Many times I'll save that for after I've done initial amp/cab/mic tweaking. And all of this is before you even touch a compressor, drive pedal, or start influencing the dynamics with effects. Reading up on how studios apply dynamics processing to guitar tracks can help a great deal, and as usual, there's always more to learn with many "rules" made to be broken. I usually add the compressor last as a final tweak to the dynamics. Many times I've added it only to take it away after adjusting the amp/cab/mic.</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Tweaking_tones_for_covers&diff=622Tweaking tones for covers2007-10-25T11:57:26Z<p>Acwild: /* "Dynamics": */</p>
<hr />
<div>For duplicating cover song tones while running Axe-FX direct. <br />
<br />
Just a few things I've come up with (so far) that have helped with the challenge of replicating tones of cover songs on the Axe-FX. They're just some very loose guidelines that have helped keep me "on course" in the tone journey and maybe you can use them. I didn't put anything about effects, just the basics of building a tone. If replication isn't your thing, please disregard. I'm far from an expert on any of this stuff and don't want to come across like I'm pretending to be one, so any additional insights are definitely welcome. <br />
<br />
=====1. Listen very closely to the original=====<br />
I usually try to sort out what kind of pickup was being used first. Unless you're an expert, the pickups, guitars, gear and production used in the original can make it very challenging to figure out if you're listening to a beefed up single coil type or a low power clean humbucker (not including all the other pickups out there). <br />
<br />
Chasing ways to beef up a single coil into a certain tonal makeup when it was really a humbucker used in the original can eat up lots of time. I get confused sometimes since I'm no guru, so the more I pick apart the original the better off I am. Of course you can always mangle things/shatter rules to beat a tone into submission...sometimes you come up with something even cooler. <br />
Listening to the original, taking breaks, then hearing it the next day invites more insights into the tone and helps you hear things you didn't catch the day before. <br />
<br />
=====2. Get to know the original gear used:=====<br />
The right amp/cab/mic choices can save time and confusion. Starting with the right configuration shortens tweaking time considerably. Knowing the original guitar/pickups helps a lot too. I only use one SSH strat style guitar at the gigs. If the original was an old gibson archtop with a neck p90, then I know it'll take a lot of tweaking and I'll never nail it, but the tools in the Axe-FX makes it easier to capture a similar tonal attitude. <br />
<br />
=====3. Keep it simple:=====<br />
For me, it works well to exhaust the most basic options first (pickups, amps, cabs, mics) before moving on to pedals and equalizers to shape a tone. As with everything else, the soil and foundation must be somewhat solid and accurate or everything else you build on top of it won't sound quite right. Don't get me wrong, chasing your tail can be fun...but how much progress do you really want to make today? <br />
<br />
=====4. Angel/Devil's in the details:=====<br />
======"EQ":======<br />
After "heating" up the amp to where it comes alive (master volume/drive) with a generic cabinet, sometimes I'll "eq" the amp with the cabinet and microphone before twisting tone knobs, sometimes after, but if I can get the amp tone closer with cabs/mics rather than eqing, it actually sounds/feels better than compensating for shortcomings with EQ. When approaching tone knobs, sometimes before I boost anything, I try the old "cut one to boost another" approach and take away other frequencies that might be masking the one I want to bring out. So far, I've only used graphic and parametric EQ for special effect, not to actually shape a tonal foundation. Sometimes less really is more. <br />
======"Clean":====== <br />
Sometimes a clean sound isn't really clean at all and can easily be overlooked if you're not listening closely enough. "Domino" byVan Morrison is a great example; sounds clean on a casual listen, but it actually has quite a bit of grit and hair in there. <br />
Dialed with a pristine clean, it sounds really nice, but in the mix it falls short dramatically. A little hair and dirt can really help the tone sit in the mix with a texture and feel that a pristine clean doesn't have.....even though the original "sounds" clean. <br />
======"Thump":====== <br />
Its easy to forget that many tones that might seem nasally or clean/thin actually have some amount of speaker thump and percussion in the original. Its hard to hear in the mix sometimes, but it adds a hidden body and energy to the sound. When you don't have it, it sounds like your virtual speakers aren't moving air, and the tone is more flat/thin/less alive. Dialing this can be tricky without getting the lows and mids sounding mushy. The guitar lows can easily overlap/compete with similar bass frequencies and mess up the mix live and in the studio.....the sound dude/engineer usually fixes it, but if you don't have one..... <br />
<br />
The right cabinet goes a long way as well, and the microphone choice is critical. I've listened to the mics hundreds of times. Some mics compress more, some have more "alive" dynamics, and they're all very different tonally. Some hollow out the sound, some thicken it up. If you match up the right mic with the right cab you can get a good balanced thump that still saves room for bass and kick without even touching the tone controls or throwing an EQ block in there. <br />
====="Dynamics":=====<br />
Apart from attempting to duplicate another player's dynamics, paying attention to the dynamic response of the original recording is paramount in capturing the "feel". The Axe-FX is revolutionary in the modelling world when it comes to just this, and because of that, you can dial in the feel of the original and customize it for your guitar and playing style. But if you don't go the extra mile to get that, you'll wonder what's missing. <br />
<br />
Starting simple works well: <br>How you end up running an amp (mastervolume & drive) creates a great deal of your initial dynamics. The cabinet influences that, and the microphone choice has a huge impact on it as well. Sometimes during that I'll grab the depth, damp, sag and adjust to taste if I think it'll contribute. Many times I'll save that for after I've done initial amp/cab/mic tweaking. And all of this is before you even touch a compressor, drive pedal, or start influencing the dynamics with effects. Reading up on how studios apply dynamics processing to guitar tracks can help a great deal, and as usual, there's always more to learn with many "rules" made to be broken. I usually add the compressor last as a final tweak to the dynamics. Many times I've added it only to take it away after adjusting the amp/cab/mic.<br />
<br />
<br />
====="Plexi Bright Setting":=====<br />
"One of the first mods people make to real 'Plexi' Marshalls is to "clip the bright cap". The bright cap varied over the years, supposedly depending on what was lying around in the shop. The model defaults to the bright cap in the circuit. If you turn the bright off you're effectively clipping the bright cap. <br />
<br />
With the bright cap in Marshalls can be very bright and harsh. However, if you crank the Master you might find the extra brightness helps compensate for the power amp getting darker." - CC</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Firmware_history&diff=493Firmware history2007-06-27T11:10:09Z<p>Acwild: Correction to Version 3.09 added.</p>
<hr />
<div>Axe-Fx Firmware Release Notes<br />
<br />
<br />
__<br />
<br />
1.28<br />
<br />
Production release.<br />
<br />
<br />
__<br />
<br />
1.31<br />
<br />
Added "Crystal" pitch shifter mode. This mode allows longer splice times and other features such as reverse sampling and multiple feedback options. This mode is particularly suited to special effects. Also, an input gain control was added to allow swell effects, etc. Because of this any old presets that use the pitch block should be checked as the input gain will probably be set to less than 1. Adjust the gain if necessary and save the preset.<br />
<br />
Enhanced capabilities of mixer block. The mixer block now provides pan controls and a stereo/mono switch. By using the mono mode and the pan controls, one can fade between two amps, for example, using the pan controls.<br />
<br />
Added "Auto Delay Unbypass" feature. This feature, accessed from the Tempo menu, allows the user to automatically unbypass the delay and multitap delay blocks automatically whenever new tempo is received. The intended use is to recall a preset with the delay in a bypassed state. When a tempo is tapped in the delay block will go to the active state. For best results be sure to set the bypass mode of the delay block to "Mute In" to avoid glitching as the time is changed.<br />
<br />
<br />
__<br />
<br />
1.32<br />
<br />
NOTE: Many new features and parameters have been added for this revision. As such any presets saved under previous revisions may require some adjustments to be compatible with the new revision. Most importantly, the new Modifier parameters will need to be set for any presets that use Modifiers on their effect parameters. Only install this version when you have the time to go through your presets and adjust them accordingly. Also be aware that the bypass controller assignments may need to be updated. Although some tweaking is required to use this new revision we believe the extra functionality and new effects are worth the effort.<br />
<br />
The two Quadtap blocks have been combined into one MultiDelay block with five sub-algorithms. See the manual for details. Any presets saved under earlier revisions that use Quadtap2 will lose that block under the new revision.<br />
<br />
Related to the elimination of Quadtap2 the bypass controller assignments are shifted slightly. After upgrading to Rev 1.32 please check your bypass controller assignments under the I/O -> CTRL menu.<br />
<br />
The Tremolo/Panner block has been upgraded to a true surround panner. See the manual for more details.<br />
<br />
The Filter blocks now feature a right channel offset control. This allows setting different frequencies for the left and right channel but controlling both via a single modifier. Any presets saved under early revisions that use the Filter blocks should be checked for proper operation as the offset control will likely be set to 0.1. Set this to 1.0 to set the right frequency the same as the left. Be sure to save the preset after updating.<br />
<br />
The Pitch block now has a Master Pitch control to allow controlling the pitch in real-time. The Master Pitch scales both pitches by the amount of the control. Any presets saved under previous revisions should be checked for proper operation as the Master Pitch control will likely be set to 0%. Set to 100% for normal operation. Be sure to save the<br />
preset after updating.<br />
<br />
The Chorus and Flanger blocks now contain Phase Reversal switches for the right effect signal. When set to ON this increases the stereo image.<br />
<br />
Added Sensitivity control to Envelope Follower. This control sets the threshold of the Envelope Follower. See manual for details.<br />
<br />
The Modifier transforms now have Scale and Offset controls to allow easier and more flexible mapping to effect parameters. IMPORTANT: Any presets saved under previous revisions using modifiers will need to be updated since the Scale and Offset controls will likely be set to undesired values. For operation identical to the previous revisions simply set the Scale to 100% and Offset to 50%.<br />
<br />
MIDI Clock synchronization is now supported. The Axe-Fx will lock on to a MIDI clock source and adjust its tempo to match.<br />
<br />
All MIDI data is now buffered allowing for MIDI messages to be received during preset change. Previously any messages received during the preset change "blanking interval" were lost. The input buffer resolves this issue.<br />
<br />
An issue with routing effects in the bottom row has been resolved.<br />
<br />
<br />
__<br />
<br />
2.00<br />
<br />
New preset storage protocol introduced. This protocol allows many more parameters per preset thereby allowing for future expansion, new effects, new parameters etc. New firmware is backward compatible with presets saved with previous revisions.<br />
<br />
<br />
Bug Fixes:<br />
<br />
Reduced output level of panner by 6 dB to compensate for signal addition.<br />
<br />
Fixed the depth of LFO2 only going to 0.5 at full depth.<br />
<br />
<br />
New Features, Improvements, etc.:<br />
<br />
Improved power amp simulation. Better negative feedback algorithm. This improves power amp phase response and feel. Frequency response is virtually unchanged but sounds better due to harmonic phase alignment. Touch response is improved and amp responds more to player "digging in" to the strings.<br />
<br />
Added DEEP switch to power amp sim. When active this modifies negative feedback increasing low-frequency response.<br />
<br />
The global LFO's themselves are now controllable. This allows attaching a controller to a controller. So now one can vary the LFO rate, for example, via an expression pedal or ADSR etc. Added monitor to envelope follower display. Added output gain control to follower to help compensate for long attack times.<br />
<br />
Added "vibe" mode to phaser. Rotating order control fully CW engages this mode. The spacing of the poles is fixed in this mode and follows the old Univibe. The freq. span control has no function in this mode.<br />
<br />
Added Dual Delay and Reverse types to delay block. The Dual type allows control over local and cross feedbacks as well as level and pan controls. Reorganized delay block GUI to be more intuitive.<br />
<br />
Added Feedback Send and Return blocks.<br />
<br />
Added second instance of Multi-Delay!!!<br />
<br />
Improved fixed pitch shifting algorithms. Short splice times are now greatly improved. This affects both the pitch and multi-delay blocks.<br />
<br />
Improved intelligent pitch-shifter algorithm ("note track" on or intelligent type), especially for shifts more than an octave.<br />
<br />
Improved Plex-Shift decay time calculation so that actual decay time is closer to entered value. Added detune capability to Plex-Shift to allow fine pitch shifting.<br />
<br />
Improved Plex-Detune algorithm. Also, delay time now compensates for splice time.<br />
<br />
Added detune capability to intelligent shifter and crystals shifter.<br />
<br />
Added Master Time to Multi-Delay block. Band-delay type now has LFO control of delay times.<br />
<br />
Reduced CPU utilization for compressor when using soft-knee type.<br />
<br />
Various optimizations have reduced overall CPU utilization slightly.<br />
<br />
Added tuner offsets per string for custom temperaments.<br />
<br />
Made the Sysex ID of the unit configurable. This allows setting the ID that the unit will respond to. NOTE: Upon firmware update this value will probably be zero. To insure compatability with any old Sysex data and the factory bank data you MUST set this value to 125.<br />
<br />
Added full MIDI remote programming functionality. All aspects of the unit can now be remotely programmed using MIDI SysEx commands. Unit reports status back with SysEx messages.<br />
<br />
Added preset backup/recall to/from FLASH capability. This allows saving first 64 presets to FLASH and recalling them in an emergency (someone monkeys with unit, dead battery, etc.).<br />
<br />
<br />
__<br />
<br />
2.01 - 2.02 Internal Releases<br />
<br />
__<br />
<br />
2.03<br />
<br />
<br />
Bug Fixes:<br />
<br />
Fixed mixer block mono/stereo mode select text not displayed.<br />
<br />
Fixed Tremolo LFO type not sticking.<br />
<br />
<br />
Features / Changes:<br />
<br />
Reduced CPU utilization for null blocks.<br />
<br />
Increased output gain of Spec. OD 2 model by 6 dB.<br />
<br />
Improved Blackface model.<br />
<br />
Added ducker to Delays. This is easier and works better than attaching the envelope follower to the mix or level controls. A "reverse" downward expander is used to reduce the wet signal level as a function of input level.<br />
<br />
Added Boss SD-1 Distortion model.<br />
<br />
Removed effect type blinking on effect recall function to aid readability.<br />
<br />
Changed Chorus and Flanger "autodepth" from off|on to off|low|high. High gives twice the pitch shift as before. Low same as "on" was previously.<br />
<br />
Added "Depth Range" paramter to delay blocks. Low same as before, high gives deeper pitch shift.<br />
<br />
Rat and PI Fuzz models now have more input gain.<br />
<br />
Added volume increment and decrement continuous controllers. Upon receipt of a CC message, volume is either incremented or decremented 1dB and preset is then immediately saved. This can be used to fine tune volumes between patches during performance.<br />
<br />
Added makeup gain, detector type and contour controls to Compressor. Makeup gain switch compensates for threshold and ratio and keeps output level constant. Detector type switch selects between RMS (normal) and Peak modes. Contour control allows reducing amount of low-frequency content into detector thereby reducing pumping and squashing on certain types of source material.<br />
<br />
Tuner display has added flat/sharp arrow indicators to aid in tuning from a distance.<br />
<br />
Changed Phaser to automatically select "EXP" LFO type when selecting "vibe" mode.<br />
<br />
<br />
__<br />
<br />
2.04 Internal Release<br />
<br />
__<br />
<br />
2.05<br />
<br />
Fixed Layout display not updating for MIDI remote place (for PC editor).<br />
Fixed Control block not set properly for MIDI set (for PC editor).<br />
<br />
__<br />
<br />
2.06<br />
<br />
Added MIDI firmware version query function.<br />
Fixed reverb crash when hicut freq less than locut.<br />
<br />
<br />
__<br />
<br />
2.07<br />
<br />
Added autoengage feature to wah.<br />
<br />
<br />
__<br />
<br />
2.08<br />
<br />
Added four new modes to Whammy.<br />
Fixed some MIDI remote problems.<br />
Removed wah autoengage and added to modifier parameters so any effect can be automatically engaged.<br />
<br />
__<br />
<br />
2.09<br />
<br />
Fixed can’t place shunt blocks via MIDI.<br />
Added numeric readout to main level control in layout->mix page.<br />
GUI now follows MIDI functions.<br />
<br />
__<br />
<br />
2.10<br />
<br />
Fixed Dual Delay times not being properly updated during preset recall if tempo true.<br />
Added spring reverb algorithm.<br />
<br />
__<br />
<br />
2.11 Fixed tuner crashing unit if activated by CC during preset change.<br />
<br />
__<br />
<br />
3.00<br />
Fixed ping-pong delay 100% feedback not repeating forever.<br />
Improved pitch detection routine.<br />
Changed flanger feedback to -100% to +100%.<br />
Added left feedback as master control in stereo delay.<br />
Preset protocol changed to Rev. 3.0, compresses modifiers section.<br />
Improved compressor by changing attack/release algorithm. Also decreased release time as it was a bit slow.<br />
Added side-chain selection to compressor.<br />
Added LFO target assignment to delay blocks.<br />
Improved intelligent pitch-shifter.<br />
Changed scale selection and added new scales.<br />
Added "Global" amp feature allowing 10 global amps.<br />
<br />
__<br />
<br />
3.01<br />
Fixed glitching in pitch detector when tuner active.<br />
<br />
__<br />
<br />
3.02<br />
Fixed pitch detector crashing if large amounts of noise on input.<br />
<br />
__<br />
<br />
3.03<br />
Fixed compressor sidechain signal also in compressor input. Fixed Presence<br />
Freq. parameter missing from Advanced Amp param list. Removed large font<br />
To save data space. Replaced with double-size regular font.<br />
<br />
__<br />
<br />
3.04<br />
Fixed pitch detector semaphore problem.<br />
<br />
__<br />
<br />
3.05<br />
Fixed delay crashing if previous preset used reverse delay and current preset used something other than reverse and then changing to reverse.<br />
<br />
Production release of Ultra firmware!!!!!!!!!!<br />
<br />
___<br />
<br />
3.06<br />
Fixed wrong labels on output mixer page for PAN3,4.<br />
<br />
____<br />
<br />
<br />
3.07<br />
Changed tap tempo to ignore taps very close together. This allows using the tap tempo feature with those MIDI controllers that send two messages per button press.<br />
<br />
<br />
____<br />
<br />
3.08<br />
Improved preset recall time.<br />
Fixed delay block modifier indicators not scrolling with list.<br />
Added output mixer to fx loop.<br />
Fixed dumping single preset via MIDI corrupts config table.<br />
Fixed dumping presets during high CPU use corrupts sent data.<br />
<br />
<br />
____<br />
<br />
3.09<br />
Fixed CC mapping for Ultra.<br />
Fixed sidechain select for gate (Ultra).<br />
Projects rebuilt using new (ver. 4.5) compiler.<br />
*''Note: FX Loop send page main mix bar now labeled Pan1. This is a typo that will be corrected in the next release''.</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Frequently_Asked_Questions&diff=485Frequently Asked Questions2007-06-24T04:01:41Z<p>Acwild: /* Axe-Fx Technical Questions */</p>
<hr />
<div>==Axe-Fx Features==<br />
===What amps does the Axe-Fx simulate?===<br />
See the [[List of amp simulations]]<br />
<br />
===What drive pedals does the Axe-Fx simulate?===<br />
See the [[Description of drive models]]<br />
<br />
===What effects does the Axe-Fx offer?===<br />
See the [[Feature comparison]]<br />
<br />
==Axe-Fx Technical Questions==<br />
<br />
===Will the Axe-Fx work in both Europe and the United States?===<br />
Yes - the Axe has universal power input, 100-240VAC, 50-60Hz.<br />
===What is the processing latency of the Axe-Fx?===<br />
The processing latency is constant and very short. That was a design goal. It is around 600 microseconds IIRC. That's equivalent to being only 8 inches further away from the speakers. <br />
One thing many manufacturers do is use fairly large block sizes to keep function overhead from wasting clock cycles. The block size in the Axe-Fx is small which wastes some clock cycles but keeps latency down. <br />
<br />
The total latency is around 1 ms. There is 600us processing latency plus an additonal 400us of converter latency. If you use the loop you get another 400 us due to another codec in the chain.<br />
<br />
===What is the patch change time for the Axe-Fx?===<br />
Patch change time is approximately 20-30ms.<br />
<br />
===What is the backup battery for the Axe-Fx?===<br />
Standard CR2450 lithium battery.<br />
<br />
===Do the output knobs on the front have any influence on the level of the digital out?===<br />
No<br />
<br />
===What is the difference in processor speed and memory between Ultra and Standard?===<br />
20% faster. 6x the memory.<br />
<br />
==Firmware Questions==<br />
===How do you update the firmware?===<br />
See [[Firmware install notes]]<br />
===Where can I get the latest firmware?===<br />
"Due to hacking attempts firmware is now available on a request basis only. If you'd like to install the newest firmware please send an email to support@fractalaudio.com with your name and we'll send you the information on how to download." <br />
<br />
===What are the differences in firmware revisions?===<br />
See [[Firmware history]]<br />
<br />
==Operational Questions==<br />
===How do I upload or download patches to the axe-fx===<br />
Use the [http://axechange.net/editorbeta.aspx Axe-Fx editor] or <BR /><br />
See [[How to download/upload patches]]<br />
<br />
===Is there anyway to fast forward through presets using the dial?===<br />
<br />
Yes, turning the dial quickly will fast-forward thru the presets. Turning it slowly you will feel the knob click for each preset change. The key is to not spin it too fast. If you spin the knob too quickly the dial switches will bounce and reject the data. Maintain an even rotation rate and the "acceleration" will engage and it will fast-forward.<br />
<br />
==Fractal Audio Questions==<br />
===Who is Cliff Chase?===<br />
See [http://www.musicgearsource.com/fractal.html Cliff Chase interview]<br />
<br />
[[Category:FAQ]]</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Frequently_Asked_Questions&diff=417Frequently Asked Questions2007-06-12T01:41:10Z<p>Acwild: /* Axe-Fx Technical Questions */</p>
<hr />
<div>==Axe-Fx Features==<br />
===What amps does the Axe-Fx model?===<br />
See the [[List of amp models]]<br />
<br />
===What drive pedals does the Axe-Fx model?===<br />
See the [[Description of drive models]]<br />
<br />
==Axe-Fx Technical Questions==<br />
<br />
===Will the Axe-Fx work in both Europe and the United States?===<br />
Yes - the Axe has universal power input, 100-240VAC, 50-60Hz.<br />
===What is the processing latency of the Axe-Fx?===<br />
The processing latency is constant and very short. That was a design goal. It is around 600 microseconds IIRC. That's equivalent to being only 8 inches further away from the speakers. <br />
One thing many manufacturers do is use fairly large block sizes to keep function overhead from wasting clock cycles. The block size in the Axe-Fx is small which wastes some clock cycles but keeps latency down. <br />
<br />
The total latency is around 1 ms. There is 600us processing latency plus an additonal 400us of converter latency. If you use the loop you get another 400 us due to another codec in the chain.<br />
<br />
===What is the patch change time for the Axe-Fx?===<br />
Patch change time is approximately 20-30ms.<br />
<br />
===What is the backup battery for the Axe-Fx?===<br />
Standard CR2450 lithium battery.<br />
<br />
==Firmware Questions==<br />
===How do you update the firmware?===<br />
See [[Firmware install notes]]<br />
<br />
===What are the differences in firmware revisions?===<br />
See [[Firmware history]]<br />
<br />
===Question 3===<br />
Answer<br />
<br />
==Fractal Audio Questions==<br />
===Who is Cliff Chase?===<br />
See [http://www.musicgearsource.com/fractal.html Cliff Chase interview]<br />
<br />
[[Category:FAQ]]</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Frequently_Asked_Questions&diff=416Frequently Asked Questions2007-06-12T01:39:13Z<p>Acwild: /* Axe-Fx Technical Questions */</p>
<hr />
<div>==Axe-Fx Features==<br />
===What amps does the Axe-Fx model?===<br />
See the [[List of amp models]]<br />
<br />
===What drive pedals does the Axe-Fx model?===<br />
See the [[Description of drive models]]<br />
<br />
==Axe-Fx Technical Questions==<br />
<br />
===Will the Axe-Fx work in both Europe and the United States?===<br />
Yes - the Axe has universal power input, 100-240VAC, 50-60Hz.<br />
===What is the processing latency of the Axe-Fx?===<br />
The processing latency is constant and very short. That was a design goal. It is around 600 microseconds IIRC. That's equivalent to being only 8 inches further away from the speakers. <br />
One thing many manufacturers do is use fairly large block sizes to keep function overhead from wasting clock cycles. The block size in the Axe-Fx is small which wastes some clock cycles but keeps latency down. <br />
<br />
The total latency is around 1 ms. There is 600us processing latency plus an additonal 400us of converter latency. If you use the loop you get another 400 us due to another codec in the chain.<br />
<br />
===What is the patch change time for the Axe-Fx===<br />
Patch change time is approximately 20-30ms.<br />
<br />
===What is the backup battery for the Axe-Fx===<br />
Standard CR2450 lithium battery.<br />
<br />
==Firmware Questions==<br />
===How do you update the firmware?===<br />
See [[Firmware install notes]]<br />
<br />
===What are the differences in firmware revisions?===<br />
See [[Firmware history]]<br />
<br />
===Question 3===<br />
Answer<br />
<br />
==Fractal Audio Questions==<br />
===Who is Cliff Chase?===<br />
See [http://www.musicgearsource.com/fractal.html Cliff Chase interview]<br />
<br />
[[Category:FAQ]]</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=195Axe-Fx Wiki Manual2007-06-09T00:21:48Z<p>Acwild: /* Example Connections */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
'''''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.'''''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
<br />
• Compressor (2)<br />
<br />
• Graphic Equalizer (2)<br />
<br />
• Parametric Equalizer (2)<br />
<br />
• Amplifier Emulator (2)<br />
<br />
• Cabinet Emulator (2)<br />
<br />
• Reverb (2)<br />
<br />
• Chorus (2)<br />
<br />
• Flanger (2)<br />
<br />
• Phaser (2)<br />
<br />
• Rotary Cabinet (2)<br />
<br />
• Wah-Wah (2)<br />
<br />
• Formant Synthesizer (1)<br />
<br />
• Tremolo/Panner (2)<br />
<br />
• Delay (2)<br />
<br />
• Multi-Delay (2)<br />
<br />
• Filter (2)<br />
<br />
• Pitch Shifter (1)<br />
<br />
• Drive (2)<br />
<br />
• Stereo Enhancer (1)<br />
<br />
• Mixer (2)<br />
<br />
• Effects Loop (1)<br />
<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Setting Up===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
<br />
<br />
====Example Connections====<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
'''As an Effects Unit with Separate Preamp and Power Amp'''<br />
<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
'''As an Effects Unit with a Combo Amp (or Head and Cab)'''<br />
<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
'''As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)'''<br />
<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
'''As a Preamp / Processor Into a Full-Range System'''<br />
<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
'''Recording'''<br />
<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
'''I/O Configuration'''<br />
<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=194Axe-Fx Wiki Manual2007-06-09T00:20:19Z<p>Acwild: /* Example Connections */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
'''''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.'''''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
<br />
• Compressor (2)<br />
<br />
• Graphic Equalizer (2)<br />
<br />
• Parametric Equalizer (2)<br />
<br />
• Amplifier Emulator (2)<br />
<br />
• Cabinet Emulator (2)<br />
<br />
• Reverb (2)<br />
<br />
• Chorus (2)<br />
<br />
• Flanger (2)<br />
<br />
• Phaser (2)<br />
<br />
• Rotary Cabinet (2)<br />
<br />
• Wah-Wah (2)<br />
<br />
• Formant Synthesizer (1)<br />
<br />
• Tremolo/Panner (2)<br />
<br />
• Delay (2)<br />
<br />
• Multi-Delay (2)<br />
<br />
• Filter (2)<br />
<br />
• Pitch Shifter (1)<br />
<br />
• Drive (2)<br />
<br />
• Stereo Enhancer (1)<br />
<br />
• Mixer (2)<br />
<br />
• Effects Loop (1)<br />
<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Setting Up===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
<br />
<br />
====Example Connections====<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=193Axe-Fx Wiki Manual2007-06-09T00:18:13Z<p>Acwild: /* Introduction */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
'''''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.'''''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
<br />
• Compressor (2)<br />
<br />
• Graphic Equalizer (2)<br />
<br />
• Parametric Equalizer (2)<br />
<br />
• Amplifier Emulator (2)<br />
<br />
• Cabinet Emulator (2)<br />
<br />
• Reverb (2)<br />
<br />
• Chorus (2)<br />
<br />
• Flanger (2)<br />
<br />
• Phaser (2)<br />
<br />
• Rotary Cabinet (2)<br />
<br />
• Wah-Wah (2)<br />
<br />
• Formant Synthesizer (1)<br />
<br />
• Tremolo/Panner (2)<br />
<br />
• Delay (2)<br />
<br />
• Multi-Delay (2)<br />
<br />
• Filter (2)<br />
<br />
• Pitch Shifter (1)<br />
<br />
• Drive (2)<br />
<br />
• Stereo Enhancer (1)<br />
<br />
• Mixer (2)<br />
<br />
• Effects Loop (1)<br />
<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Setting Up===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
<br />
<br />
====Example Connections====<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=192Axe-Fx Wiki Manual2007-06-09T00:16:26Z<p>Acwild: /* Introduction */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
'''''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.'''''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Setting Up===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
<br />
<br />
====Example Connections====<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=191Axe-Fx Wiki Manual2007-06-09T00:14:25Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Setting Up===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
<br />
<br />
====Example Connections====<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=190Axe-Fx Wiki Manual2007-06-09T00:12:34Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
<br />
<br />
====Example Connections====<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=189Axe-Fx Wiki Manual2007-06-09T00:01:15Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
Example Connections<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=188Axe-Fx Wiki Manual2007-06-09T00:00:47Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
Example Connections<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=187Axe-Fx Wiki Manual2007-06-09T00:00:10Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
''NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.''<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
Example Connections<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=186Axe-Fx Wiki Manual2007-06-08T23:58:47Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
Example Connections<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=185Axe-Fx Wiki Manual2007-06-08T23:57:54Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
Example Connections<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
Getting Set Up 19<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
Getting Set Up 20<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=184Axe-Fx Wiki Manual2007-06-08T23:56:06Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
Example Connections<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections1.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
Getting Set Up 19<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
Getting Set Up 20<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=183Axe-Fx Wiki Manual2007-06-08T23:54:21Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
Example Connections<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
<br />
[[Image:Connections4.jpg]]<br />
<br />
<br />
Recording<br />
Using the Axe-Fx in the studio is straightforward. Simply connect the main outputs<br />
(analog or digital) to a mixer, computer, etc.<br />
<br />
<br />
I/O Configuration<br />
Press the I/O button to access the I/O configuration menus. These menus allow you<br />
to configure the audio, MIDI and pedals of the Axe-Fx.<br />
Mode Configuration<br />
The first page of the I/O menu configures the primary input source. Setting the INPUT<br />
SOURCE to ANALOG FRONT or ANALOG REAR configures the unit to slave all clocks to<br />
the internal 48 kHz word clock. Setting to DIGITAL selects the DIGITAL input as the<br />
main input and slaves all clocks to this bit stream.<br />
The Axe-Fx can only run at 48 kHz. If you connect a digital source to the unit be<br />
sure that its sample rate is 48 kHz.<br />
Set the INPUT SOURCE to ANALOG FRONT when using the front-panel input. This input<br />
is conditioned to provide optimum noise performance for use with an electric guitar.<br />
Set the INPUT SOURCE to ANALOG REAR when using the rear-panel input. This input is<br />
a generic line-level input and works with any line-level source.<br />
Audio Configuration<br />
The next page of the I/O menu configures the inputs to the Axe-Fx. Select the<br />
desired mode for each of the inputs as follows:<br />
LEFT ONLY - Use for monophonic input sources. For INPUT 1 use the front panel<br />
INSTR jack or the rear panel INPUT1 - LEFT / MONO jack (set INPUT SOURCE as<br />
described above). For INPUT 2 use the rear panel INPUT2 - LEFT / MONO jack.<br />
In this mode the left input signal is copied to the right channel.<br />
L+R SUM - Use when you wish to sum two sources using the LEFT and RIGHT input<br />
jacks.<br />
STEREO - Select this if your input source is stereo.<br />
MIDI Configuration<br />
The MIDI page configures the MIDI parameters and preset mapping of the Axe-Fx.<br />
The Axe-Fx contains memory for 384 presets. From a MIDI standpoint these<br />
presets are arranged in 3 banks of 128 each. To recall presets above 127 your MIDI<br />
device must be capable of transmitting a MIDI Bank Select Coarse controller<br />
message (controller #0). The value of this message selects the bank (0 - 2).<br />
Subsequent MIDI Program Change messages access programs from the selected<br />
bank.<br />
MIDI CHANNEL - Selects the MIDI channel to which the Axe-Fx will respond. If set to<br />
OMNI the Axe-Fx will respond to MIDI messages on all channels.<br />
PROG CHANGE - When set to ON the Axe-Fx will respond to MIDI Program Change<br />
messages. When set to OFF it will ignore them.<br />
<br />
Getting Set Up 19<br />
MAPPING MODE - When set to OFF the Axe-Fx will recall the preset given in the<br />
Program Change message. When set to CUSTOM you can set up a custom map<br />
where an incoming number is mapped to a desired preset<br />
MAP FROM - Sets the input MIDI Program Change number that is mapped.<br />
MAP TO - The actual preset that is recalled when the MAP FROM number is received.<br />
NOTE: Mapping is only supported within Bank A (presets 0 - 127).<br />
SYSEX ID - Sets the System Exclusive ID of the unit.<br />
Control Configuration<br />
The CTRL page configures the external control capabilities of the Axe-Fx. Each item<br />
in the list can be controlled by either of the pedals or by a MIDI continuous<br />
controller. To set up the control for an item simply turn the value dial to select the<br />
MIDI continuous controller number (or desired pedal) that will control that item. The<br />
Axe-Fx has a “learn” feature that allows it to detect the controller. Simply select the<br />
desired item to control and press ENTER. Now move the controller and the Axe-Fx<br />
will learn the controller number.<br />
Example<br />
To set the main output volume to be controlled by Pedal1 select OUT1<br />
VOLUME with the navigation buttons. Then turn the value dial to select<br />
PEDAL1. Alternatively press ENTER and then move your pedal connected to<br />
the PEDAL1 jack until the Axe-Fx learns the source.<br />
In the list there are eight external controllers labeled EXTERNAL 1, EXTERNAL 2, etc.<br />
These are the external sources that can be attached to controllable parameters.<br />
The actual source can be either of the PEDAL inputs or any MIDI continuos<br />
controller.<br />
Example<br />
Manual control of effects like Wah requires an external controller to be<br />
attached to the Wah’s CTRL knob. In this example we’ll assume an<br />
expression pedal is connected to the PEDAL 2 input jack. The first step is<br />
to assign PEDAL 2 to an external controller. In this case we’ll use EXTERNAL<br />
1. To do this select EXTERNAL 1 with the navigation buttons and turn the value<br />
dial until PEDAL 2 is displayed (or use the Auto-Learn function). Now when<br />
you attach a modifier to the Wah’s CTRL knob simply select EXTRN 1 as the<br />
control source.<br />
In this example we could have used any of the eight external controllers or any<br />
MIDI continuous controller. The main point to understand here is that there are<br />
eight logical external control sources. Each source is assigned to a physical source<br />
via the CTRL menu page. This source can be the PEDAL inputs or a MIDI continuos<br />
controller. The logical source is then attached to an effects parameter (via the<br />
MODIFIER menu, see the Controllers and Modifiers chapter).<br />
<br />
Getting Set Up 20<br />
GLOBAL BYPASS - The Global Bypass controller is a special type of bypass control.<br />
Whenever the Axe-Fx receives a Global Bypass controller message it toggles the<br />
state of any effects that were bypassed in the current preset. For example, if a<br />
preset has a Wah in it and that preset is saved with the Wah in a bypassed state<br />
the Global Bypass message would un-bypass it. This controller can be used as a<br />
universal master bypass control that toggles the bypassed blocks for each preset.<br />
Normally you would have to remember what effect is bypassed in a preset and then<br />
send the appropriate controller for that effect. With the Global Bypass, however,<br />
you can use a single controller to toggle effects for each preset on and off. For<br />
some presets you may have a Drive block that you wish to toggle on|off to switch<br />
between rhythm and lead work. For others you may have a Wah or Flanger or<br />
whatever that you wish to toggle. So instead of having to use a different controller<br />
for each preset you can simplify and just use one.<br />
When a preset is recalled the effects are in the bypass state that they were stored<br />
in. Any that are bypassed may then by activated using either their individual bypass<br />
controllers or all may be activated by using the Global Bypass.<br />
EFFECT BYPASS - Each effect in the Axe-Fx can be toggled in and out of bypass<br />
using a MIDI continuous controller. Following the Global Bypass item are the<br />
individual bypass controllers. Simply set the value to the desired controller number<br />
(or pedal number).<br />
Example<br />
To control the bypass state of Flanger 1 use the navigation buttons to select<br />
FLANGER 1 BYP. Then turn the value knob (or press ENTER to<br />
automatically learn) to select the desired controller number. In this example<br />
we’ll use CC# 12. Now whenever the Axe-Fx receives a CC# 12 message<br />
the bypass state of Flanger 1 will be set to the value of the controller.<br />
Note that the Axe-Fx uses negative logic for the bypass state. A controller value of<br />
zero bypasses the effect and non-zero the effect is active. So if the controller value<br />
equals zero, effect off, controller value greater than zero, effect on.<br />
Pedal Configuration<br />
The PEDAL page configures the pedals. The pedals can be used for parameter<br />
control, volume control, effect bypass, preset switching and other purposes. When<br />
used for preset switching the Axe-Fx can change presets without the use of a MIDI<br />
controller.<br />
The two pedal jacks on the back of the Axe-Fx support continuous, momentary or<br />
latching pedals. Continuous pedals are normally used for real-time continuous<br />
control of effect or global parameters (i.e. volume). The other types are normally<br />
used for bypass control or preset switching. It is important to understand how the<br />
various pedal modes operate to use them to the ultimate capability.<br />
<br />
<br />
To use the pedal for switching operations such as bypass or preset change be sure<br />
to set the pedal type to match the type of footswitch. Momentary footswitches close<br />
a contact while the pedal is depressed. They typically do not "click" when pressed.<br />
Latching footswitches alternate between contacts closed and opened each time<br />
the switch is depressed, they usually click.<br />
Internally the Axe-Fx stores a state for the pedal. For momentary footswitches<br />
depressing the switch toggles the internal state between 0 and 1. When set to<br />
latching the state of the contacts sets the internal state: contacts closed = 0,<br />
contacts open = 1.<br />
Footswitches are normally used to control an effects bypass state or for preset<br />
increment/decrement. Of course one can still assign a footswitch as an external<br />
controller but the "value" from the switch will be either 0 or 1. This may be used, for<br />
example, to change the rate of a Rotary simulator between two speeds, when the<br />
controller is at value 0 the rate would be slow and when at 1 the rate would be fast.<br />
This would be setup using a modifier on the Rotary simulator rate control.<br />
When using a footswitch to control preset recall, a change of state causes a preset<br />
change. For example, if a momentary footswitch is connected depressing the<br />
switch toggles the internal state. This in turn would increment/decrement the<br />
current preset if configured as such. However, if a latching footswitch were<br />
connected but the type is incorrectly set to momentary then the preset would only<br />
change every other time the pedal was depressed as it would interpret the first<br />
press as the pedal being depressed and the second press as the pedal being<br />
released.<br />
If the pedal type is set to continuous it CANNOT be used to control bypass or preset<br />
change. This prevents unwanted behavior in the event the I/O setup is not exact.<br />
Pedal Setup Parameters<br />
PEDAL1 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PEDAL2 TYPE - Chooses the type of pedal: continuous, momentary or latching.<br />
PRESET INCR - Chooses which pedal to use to increment the preset. When the<br />
selected pedal is depressed the next preset will be recalled.<br />
PRESET DECR - Chooses which pedal to use to decrement the preset.<br />
PRESET START/END - When using a footswitch to control preset increment/decrement<br />
the preset recalled will range between these values, wrapping around at the limits.<br />
For example if you wish to use a single footswitch to change presets you could plug<br />
it into PEDAL 2 and set PRESET INCR to PEDAL2. Each time you press the footswitch<br />
the preset will increment by one until the PRESET END value is exceed in which case<br />
it will jump to the PRESET START value. If you wish to cycle through presets 10<br />
through 14 you would set PRESET START to 10 and PRESET END to 14.<br />
<br />
<br />
PEDAL1 CAL - To calibrate a continuos pedal connected to PEDAL 1 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
PEDAL2 CAL - To calibrate a continuos pedal connected to PEDAL 2 press ENTER<br />
and move the pedal through its full range several times. Press ENTER again when<br />
finished.<br />
<br />
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Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=181Axe-Fx Wiki Manual2007-06-08T23:50:28Z<p>Acwild: /* Getting Set Up */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
Getting Set Up 10<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
[[Image:RearPanel.jpg]]<br />
<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
<br />
6. MIDI - MIDI interface. Connect your MIDI controller to MIDI IN. The POWER jack<br />
provides power on pins 6 and 7 of MIDI IN allowing phantom powering of pedal<br />
boards that support this.<br />
7. Pedal / Footswitch - Pedal / footswitch inputs. Connect your expression pedals<br />
and/or footswitches here. Each jack is a ¼" stereo jack capable of supporting an<br />
expression pedal or a footswitch (either momentary or latching).<br />
When connecting an expression pedal the pedal data can be used to control<br />
various parameters continuously such as volume, rate, drive, etc. A footswitch<br />
would normally be used to control bypass or preset recall. See the I/O<br />
Configuration section for more information on pedal types and configuration.<br />
8. A/C In - Mains power. Connect to a grounded AC receptacle.<br />
Front Panel<br />
Figure 5 shows the front panel of the Axe-Fx.<br />
[[Image:FrontPanel.jpg]]<br />
<br />
1. Status / Warning Indicators - These four LED's consist of:<br />
EDITED - Lit if the current preset has been edited, reminding you to save your<br />
changes.<br />
MIDI IN - Lights whenever MIDI data is received.<br />
OUT1 CLIP - Lights whenever the digital signal level at OUTPUT1 has exceeded<br />
that which is representable by 24-bits. Internally the Axe-Fx uses 32-bit floatingpoint<br />
numbers so clipping is virtually impossible. These values are then converted<br />
to 24-bit fixed-point numbers prior to being output. If the converted value is greater<br />
than that which can be represented by a 24-bit fixed-point number, this will cause<br />
clipping of the D/A converter and clipping of the digital output. If the clipping is<br />
severe audible distortion may result. Reduce the output level by either turning<br />
down the level in one or more of the effect blocks or by turning the master output<br />
level down in the layout mixer.<br />
<br />
OUT2 CLIP - Lights whenever the signal level at OUTPUT2 has exceeded that<br />
which is representable by 24-bits. Reduce the output level by either turning down<br />
the level in one or more of the effect blocks or by turning the master output level<br />
down in the effects loop mixer.<br />
2. Value / Enter / Exit - The value dial is used to adjust values of various parameters.<br />
The ENTER button is used to commit effects to a block, attach controllers and<br />
various other activities. The EXIT button cancels dialogs and escapes from various<br />
states<br />
3. Navigation - The four navigation buttons allow movement within a page. The<br />
PAGE buttons switch between pages.<br />
4. Menu Pressing a menu button brings you to that menu instantly:<br />
LAYOUT - This is the effects grid placement and routing menu. There are four<br />
pages: EDIT, MOVE, GATE and MIX. The EDIT page is used to place and route effects.<br />
The MOVE page allows moving an effect once it's been placed. The GATE page<br />
contains the adjustable parameters for the Noise Gate. The MIX page allows overall<br />
mixing and panning of the four rows in the grid as well as overall output level<br />
adjustment.<br />
EDIT - To edit an individual effect, highlight that effect in the LAYOUT>EDIT menu and<br />
press EDIT. This brings up the edit pages for that effect. Pressing EDIT again<br />
switches to the next effect in the grid.<br />
CONTROL - Pressing CONTROL brings up the menu pages for the internal<br />
controllers. These are TEMPO, LFO1, LFO2, ADSR1, ADSR2, ENV and MODS. These are<br />
discussed in more detail in the controllers section.<br />
EFF. BYP - To bypass and individual effect, highlight the effect and press EFF. BYP.<br />
The outline of the effect in the grid will change to a dotted line indicating the effect<br />
has been bypassed. Pressing the button again will restore the effect.<br />
GLOBAL - This brings up the Global parameters menu. There are three pages:<br />
OUT1, OUT2, and MIX. These are discussed in more detail in the Global section.<br />
TUNER - Pressing this button brings up the tuner display.<br />
I/O - This button brings up the I/O Setup menu. This menu allows you to configure<br />
the various audio and control options of the Axe-Fx. See the I/O Section for more<br />
details.<br />
UTILITY - This menu contains various utility functions. See the Utility section for<br />
more details.<br />
RECALL - Brings up the Recall display and allows you to recall presets using the<br />
value dial.<br />
STORE - Enters the Store menu allowing naming and saving of the current preset.<br />
<br />
<br />
BYPASS - Pressing this button bypasses the Axe-Fx. The LED on the button is lit<br />
indicating the bypass state. Press the button again to defeat the bypass. Pressing<br />
this button twice in rapid succession restores all parameters of the selected effect<br />
to their default values.<br />
TEMPO - Tap the song tempo using this button. The LED on the button flashes at<br />
the tempo that was tapped in. The tempo is saved with the preset but may be<br />
overridden at any time. Recalling a preset loads the tempo of that preset. Any<br />
effects set to use tempo will adjust their dependent parameters to the current<br />
tempo.<br />
5. Level Controls<br />
INPUT1/2 - These controls set the input levels to the A/D converters. For best<br />
signal-to-noise ratio adjust the levels until the top red LED just barely lights on the<br />
strongest peaks. For example, adjust INPUT1 so that when you strum your guitar<br />
loudly with its volume all the way up the red LED should light only occasionally.<br />
Setting the level controls too high may result in clipping of the input causing audible<br />
distortion. For guitars with humbucking pickups the INPUT1 control will normally<br />
be around the 2:00 position. For single coils you may wish to set this control slightly<br />
higher.<br />
For best results when plugging line-level devices into an input set the controls at<br />
midpoint and adjust the output level of the device so that the red LED barely lights<br />
on the strongest signal peaks.<br />
The LED’s indicate the signal level at the A/D converter. When the red LED lights<br />
the signal into the A/D is 6 dB below full-scale (6 dB headroom).<br />
OUTPUT1/2 - These controls set the output level of the Axe-Fx. Adjust these to suit<br />
the equipment connected to the outputs. Setting the levels too high may result in<br />
clipping of the attached equipment. The Axe-Fx is capable of delivering about +18<br />
dBu maximum with level controls at full.<br />
6. Instr - Plug your guitar into this jack. This input is conditioned especially for use<br />
with your guitar. Plugging a line-level device into this input is not recommended as<br />
this may cause clipping of the input amplifier. Be sure to set the INPUT SOURCE to<br />
ANALOG FRONT in the I/O menu. If a plug is inserted into the INPUT1 LEFT/MONO<br />
jack on the rear panel this input is defeated.<br />
Example Connections<br />
Below are examples of the Axe-Fx in various configurations along with<br />
explanations and tips on usage.<br />
<br />
Getting Set Up 14<br />
As an Effects Unit with Separate Preamp and Power Amp<br />
The Axe-Fx can be used as an effects processor along with a dedicated preamp<br />
and power amp. In this configuration the preamp provides the primary distortion<br />
and tone shaping while the Axe-Fx provides effects. By using the preamp in the<br />
Axe-Fx’s effects loop you can place effects both before and after the preamp.<br />
Certain effects, like wah and phaser, tend to work better before distortion, whereas<br />
time-based effects such as delay, chorus, reverb, etc. sound best after distortion.<br />
This configuration also allows you to use the Axe-Fx amp simulations as well. In<br />
this way you can use the outboard preamp for certain sounds, and the Axe-Fx for<br />
others. Be warned, however, after using the Axe-Fx’s amp sims you may find your<br />
preamp redundant and just adding unnecessary weight to your rack!<br />
Of course you can always use the Axe-Fx between the preamp and power amp, if<br />
desired, in the classic post-distortion configuration.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
Getting Set Up 15<br />
As an Effects Unit with a Combo Amp (or Head and Cab)<br />
Below are two possible configurations for using the Axe-Fx with a combo amp (or<br />
head and cabinet). In the first configuration the Axe-Fx is simply used in the effects<br />
loop of the amp. The second configuration is more complicated but allows effects<br />
both before and after the amp’s preamp stage. In this configuration you are using<br />
the amp in the Axe-Fx’s effects loop.<br />
<br />
[[Image:Connections2.jpg]]<br />
<br />
As a Preamp / Processor Into a Power Amp and Guitar Cabinet(s)<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a power amp and cabinets equipped with<br />
guitar speakers. Since the cabinets are not full-range, the cabinet simulation in the<br />
Axe-Fx should be defeated. This can be done globally via the GLOBAL menu, or perpreset<br />
by bypassing the cabinet block or removing it from the signal chain. If the<br />
power amp is a tube amp you may want to bypass the Axe-Fx power amp<br />
simulations as well. This can be done via the GLOBAL menu, or per-preset by turning<br />
the SAG control fully counter-clockwise.<br />
<br />
[[Image:Connections3.jpg]]<br />
<br />
As a Preamp / Processor Into a Full-Range System<br />
In this configuration the Axe-Fx is providing all distortion and tone-shaping. The<br />
output of the Axe-Fx is connected to a full-range sound reinforcement system.<br />
Since the system is full-range the Axe-Fx’s cabinet simulation should be active.<br />
The configuration shown would be typical of using the Axe-Fx straight into a FOH<br />
mixer. Your sound man would then send you your sound back into your stage<br />
monitor(s).<br />
You can also use this configuration without the mixer as a stage rig. Simply connect<br />
the Axe-Fx into a power amp and full-range speakers for the ultimate in tonal<br />
flexibility.<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=166Axe-Fx Wiki Manual2007-06-08T22:12:54Z<p>Acwild: /* Section */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=164Axe-Fx Wiki Manual2007-06-08T22:12:25Z<p>Acwild: /* Chapter Name */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Getting Set Up==<br />
===Section===<br />
Getting Set Up 10<br />
Getting Set Up<br />
Rear Panel<br />
Figure 4. shows the rear panel of the Axe-Fx.<br />
Figure 4. Rear Panel<br />
1. Input1 - Connect line-level input sources to these jacks. If using the Axe-Fx as an<br />
effects processor use these jacks and be sure to set the INPUT SOURCE to ANALOG<br />
REAR in the I/O menu.<br />
NOTE: The front panel INSTR input is defeated whenever a plug is inserted into this input.<br />
2. Input2 / Eff. Return - If using the effects loop the output of the effect(s) in the loop<br />
are connected here. You can also use this as a generic input by placing the effects<br />
loop block in the grid but not connecting anything to the block’s input.<br />
3. Output1 - Main outputs. There are two sets of outputs, unbalanced and balanced.<br />
The balanced outputs are intended for use with a mixing board and balanced<br />
cables (mic cables). The unbalanced outputs are intended for connecting to a<br />
power amp or other unbalanced equipment. The GND LIFT switch lifts the shield<br />
ground on the balanced outputs. If you get hum using the balanced outputs flip this<br />
switch to isolate the ground.<br />
4. Output2 / Eff. Send - Connect this to the input of the effect(s) in your effects loop.<br />
You can also use this as an auxiliary output for on-stage monitoring or other uses.<br />
5. Digital I/O - The IN connector provides 24-bit / 48 kHz digital input to the Axe-Fx.<br />
When configured to use the digital input, INPUT1 is defeated and the effects loop<br />
is not active (see I/O Configuration). The OUT connectors provide a digital version<br />
of the audio from OUTPUT1. The format is 24-bit / 48 kHz.<br />
Digital audio output is provided on both RCA and XLR connectors. Digital in is<br />
provided on an RCA connector. You can connect and AES digital source (XLR<br />
connector) to the RCA digital input jack using commonly available AES to SPDIF<br />
adaptor cables.<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=163Axe-Fx Wiki Manual2007-06-08T22:10:43Z<p>Acwild: /* Introduction */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=162Axe-Fx Wiki Manual2007-06-08T22:09:04Z<p>Acwild: /* Introduction */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside1<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=160Axe-Fx Wiki Manual2007-06-08T22:05:57Z<p>Acwild: /* Introduction */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
What is the Axe-Fx<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside1<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=159Axe-Fx Wiki Manual2007-06-08T22:04:34Z<p>Acwild: /* Introduction */</p>
<hr />
<div>==Introduction==<br />
<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
What is the Axe-Fx<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside1<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
Introduction 7<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content</div>Acwildhttps://wiki.fractalaudio.com/gen1/index.php?title=Axe-Fx_Wiki_Manual&diff=156Axe-Fx Wiki Manual2007-06-08T22:03:31Z<p>Acwild: /* Introduction */</p>
<hr />
<div>==Introduction==<br />
Introduction 5<br />
Introduction<br />
Thank you for purchasing an Axe-Fx Pre-Amp / Effects Processor. You’re now the<br />
owner of one of the most powerful instrument processors ever produced. By<br />
familiarizing yourself with this manual you’ll be able to reap the full benefits of your<br />
unit. Please take a moment to read through the sections that follow and acquaint<br />
yourself with the usage of your Axe-Fx.<br />
What is the Axe-Fx<br />
What is the Axe-Fx? Well, let's start by telling you what it isn't.<br />
It's not a modeler in the strict sense. Although it has cabinet emulation and different<br />
amplifier "types" it does not attempt to model any amplifier or effect exactly. Rather<br />
the Axe-Fx was designed to simply provide the effect as originally intended and<br />
with the utmost quality. All effects can be described in terms of their desired sonic<br />
manipulation. All effect processors, whether "stomp boxes" or otherwise, process<br />
the input signal to get an output signal, simple as that. However, some processors<br />
obviously do better than others. The Axe-Fx approaches effects processing as a<br />
strict set of specifications and implements those specifications.<br />
For example, the wah effect in the Axe-Fx is not intended to model any of the<br />
classic wah-wahs. Instead the input-output relationship of a wah was distilled into<br />
a set of specifications. From there the effect was designed to exactly meet these<br />
specifications. There is no "black magic" or obfuscation. The effect does exactly<br />
what it should do. Inherent in this approach is a degree of flexibility that you do not<br />
get with other processors. In our wah example this allows you to set the sweep<br />
range, "Q" and other parameters. Most modeling processors do not allow this level<br />
of control.<br />
The Axe-Fx’s amp, drive and cabinet simulations, however, are very faithful<br />
reproductions of the originals, but without the drawbacks of the originals. What this<br />
means is that they sound like the originals but are easier to adjust and provide<br />
more flexibility and a wider range of tones. For example, the Brownface amp sim<br />
sounds remarkably like a particular classic amp however the Axe-Fx contains<br />
working midrange and presence controls. Also the tone controls are much more<br />
responsive providing all the tones of the original plus new tones that the original<br />
could not achieve. Once again the philosophy is practicality and presenting the<br />
“effect” as it was originally intended.<br />
The Axe-Fx does not use any analog processing or any tubes. If you look inside1<br />
the Axe-Fx you will not see any glowing tubes or any of the revered op-amps that<br />
the analog pundits claim offer mystical sonic properties. What you will see are<br />
modern, high-quality components that offer specifications and performance far<br />
exceeding any of the aforementioned devices.<br />
<br />
''1. Please do not open your Axe-Fx as damage may occur. Refer all servicing to qualified personnel.''<br />
<br />
The Axe-Fx does contain, however, very accurate digital replicas of actual vacuum<br />
tubes. We gathered up some classic tubes and measured their transfer functions<br />
and then stored these transfer functions in the Axe-Fx’s massive brain. Our<br />
replicas are so exact that we can reproduce the harmonic spectrum of a real tube<br />
amp with amazing accuracy. Most modelers don’t even come close.<br />
OK, so what does it do? Well, the Axe-Fx is fully routable, fully programmable, realtime<br />
controllable, multi-effects processor. Whew, that's a mouthful. Let's examine<br />
each of these attributes:<br />
Routability: The Axe-Fx allows you to place effects in any order and in series or<br />
parallel. Also, the effects loop is routable as well so if you use your Axe-Fx with a<br />
preamplifier you can place the preamplifier in the effects loop and run effects both<br />
before and after your preamp. Some effects work better when placed before<br />
distortion (which your preamp would provide) and others work better after. By<br />
providing a routable effects loop the Axe-Fx allows unrivaled flexibility.<br />
Programmability: The Axe-Fx allows extensive programmability of each effects<br />
parameters. You are not constrained by the limitations of "one-knob" processors<br />
where little if any editing of parameters is offered. In addition, many effects offer<br />
advanced editing capability allowing in-depth programming. Usability has not been<br />
sacrificed though as most effects have a basic setup page allowing quick access<br />
to the most used parameters.<br />
Controllability: Many of the parameters in the Axe-Fx are controllable in real-time.<br />
Both internal and external controllers can be attached to various parameters<br />
offering dynamic control of an effect. Additionally these controllers allow mapping<br />
the control value to the effect parameter through a transform so even greater<br />
control is afforded.<br />
Multiple Effects: The Axe-Fx has all the classic effects plus a few new ones. And<br />
for most effects you get two instances so you can really create some huge sounds.<br />
The Axe-Fx works on the principle of an "effects inventory". You take an effect out<br />
of inventory and place it in the routing grid and then connect it to other effects and<br />
connect controllers to it (if desired). If an effect has multiple instances you can<br />
withdraw another instance of that same effect from the inventory and place it at<br />
another location in the grid. The effects inventory is listed below along with the<br />
number of instances available:<br />
• Noise Gate (1)<br />
• Compressor (2)<br />
• Graphic Equalizer (2)<br />
• Parametric Equalizer (2)<br />
• Amplifier Emulator (2)<br />
• Cabinet Emulator (2)<br />
• Reverb (2)<br />
• Chorus (2)<br />
Introduction 7<br />
• Flanger (2)<br />
• Phaser (2)<br />
• Rotary Cabinet (2)<br />
• Wah-Wah (2)<br />
• Formant Synthesizer (1)<br />
• Tremolo/Panner (2)<br />
• Delay (2)<br />
• Multi-Delay (2)<br />
• Filter (2)<br />
• Pitch Shifter (1)<br />
• Drive (2)<br />
• Stereo Enhancer (1)<br />
• Mixer (2)<br />
• Effects Loop (1)<br />
• Feedback Send/Return (1)<br />
Despite the huge arsenal of effects at your disposal, the Axe-Fx first-and-foremost<br />
emphasizes sound quality. Unique to the processing in the Axe-Fx is our<br />
proprietary natural processing algorithms. Many of the algorithms in the Axe-Fx<br />
replicate patterns that occur in nature (this is where our company name was<br />
derived from). The reverb algorithm replicates the sound of a real room, the chorus<br />
and flanger use special variable delay algorithms that are more natural and smooth<br />
that any pedal (analog or digital) could ever achieve and the amp simulations use<br />
unique, dynamic, non-linearity generators that produce smooth, even-ordered<br />
harmonics giving a depth to the sound that other processors lack. Almost all the<br />
effects in the Axe-Fx are full stereo (except for the Amp, Drive, Pitch and Multi-<br />
Delay effects) allowing for rich, full-sounding signal chains. And by using two Amp<br />
blocks you can achieve a true stereo, dual-amp rig for really huge sounds.<br />
Along with our superior algorithms the Axe-Fx uses the finest quality components<br />
available. The op-amps, A/D and D/A converters and passive components are all<br />
of the highest quality. The converters are the same converters used in high-end<br />
studio equipment costing many thousands of dollars. A single op-amp in the Axe-<br />
Fx costs more than all the op-amps combined in many “budget” processors.<br />
Additionally our unique analog topology eliminates any electrolytic capacitors from<br />
the signal path. Only high-quality film capacitors and precision metal-film resistors<br />
are used in the signal path assuring low-noise and low-distortion performance.<br />
These features also allow the Axe-Fx to excel as an general purpose outboard<br />
processor for studio and live use.<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
<br />
==Chapter Name==<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content<br />
====SubSection====<br />
Content<br />
===Section===<br />
Content<br />
====SubSection====<br />
Content</div>Acwild